scalpy

[quote name='goblin' timestamp='1508345064' post='3391550'] Well, I play for various people but my main gig at the moment is in my sig [/quote] Whoops, only basschat on the phone. Congratulations though, that is a great rig.

So am I the only one wondering how did you get an Aguilar endorsement and what band can we hear you with?

It’s all missing the point really, the really impressive thing is he’s playing crotchets pretty much throughout and the band is grooving it’s sweet behind off.

This one note is the one element of Duck’s playing I’ve most successfully emulated.

The guitarist doesn’t have to have a Marshall half stack for pub gigs. Drummers should spend more money on cymbals than drums. Singers should spend money on kit full stop.

[quote name='chris_b' timestamp='1507452493' post='3385462'] I can listen to Larry Graham all day, Marcus Miller for 5 mins and Mark King for 10 seconds. IMO it's just one of the techniques we should all know in order to become better and more complete players. The best slap players use it sparingly and effectively, ie Chuck Rainey, Alex Al, Reggie McBride and Nathan East. I have several regrets in my bass playing life and one of them is that I never managed to learn to slap, but I'm in good company, ie Wilton Felder, Willie Weeks and Duck Dunn. [/quote] This all day long!

The Entertainer, Hereford 1994, 17. Encore PB3, laney linebacker 100w head and hh215 cab. Was surprised by the size of the crowd, thought we were rock stars. Transpired the drummer supplemented his income selling herbal refreshment, everyone was there to see him.

Well, I’ve done West Side as a trumpeter and as bass player and he would have been a joy to work with. Kudos.

[quote name='blue' timestamp='1506872076' post='3381655'] Is there ever a verbal or written contract that would say; "the band will require entrance to the hall 1.5 hours prior to the performance to set up equipment" ? Blue [/quote] Yep, we have that. Mostly in place for weddings, when the organisers don’t realise they don’t need the guitarist running through his pedal settings during the father of the bride’s speech!

Always thought it was hogwash but now I try and make some time for it, particularly if I'm playing a show week. Just 5 minutes to run through the tricky bits, check repeats and page turns etc, go from day job mode, driver mode and into muso mode.

If you really push it and live in a densely populated area, you can do the am dram circuit. Will get you 7 days a week work, bump it up with a bit of teaching and just hope the MD is keen on keeping the same band once or twice a year. I've got a few friends who do it, but it's dependent on all sorts of variables and I don't fancy it myself.

I'm using the SA manta for this one. I'd love to describe how I've got it set up but I just end twirling the settings round and pushing buttons until it's vaguely right, something I'm guessing other manta users are familiar with!

[quote name='dlloyd' timestamp='1505899026' post='3375012'] Sometimes it's just down to the mixing. A classic example is Layla by Derek and the Dominoes... original riff is D minor pentatonic, but sounds like Eb because it was sped up to give a bit more energy. [/quote] Doesn't matter speed you play it those slide guitars at the end are nowhere close to being in tune!

[quote name='Bassassin' timestamp='1505327687' post='3371121'] Florence & The Machine. She has an immense voice, completely wasted in that messy, mimsy indie twaddle. [/quote] The reverse for me, the band are really interesting, the singing is woeful!

Sounds like you've been unlucky. Granted I've played with one or two like that, but most of the time it's quite the opposite. The one example that comes to mind is a rehearsal where the number was a proper blitz, loads of changes and finished with this meltdown. We hit the last note and it was silent for about 10 seconds. Then the trombonist asked 'the quaver in bar 27, do you that staccato or broader?' I guess what I'm trying to say is that they do all the basic things right, with a complete absence of fuss.

Started to watch it, but much to my shame and against my better judgement my irrational pathological hatred of Beverley Knight's singing eroded my will power, alongside the flaccid rhythm section. After last years Quincy Jones prom with Cory Henry and the Metropole Orchestra, which was quite simply dynamite this was underwhelming to say the least.

[quote name='Sparky Mark' timestamp='1504130471' post='3362943'] Thanks for the update. I wish I was strong enough to lug nine to gigs. [/quote] Nine might be overkill!

[quote name='Osiris' timestamp='1504111003' post='3362775'] You can't go wrong with a decent laptop bag, especially if you can get your hands on one of the old fashioned brief case style ones. I've got one and it is way more sturdy and has more protection and padding than any of the overpriced official amp bags that I've seen. It's probably not as sturdy as a hard case but for loading in and out of the car it's more than man enough for the job. I cart my wireless system about in a Stanley plastic drill case that is lined with foam and the has lasted for over 10 years without cracking or breaking. I seem to recall the DG amp is quite diddy so you might be able to squeeze it into something similar? [/quote] That's what I use. Was warned off it originally as oiks might think it was valuable. Now if one sees it they must think I have an ancient and useless computer in there, stuffed with leads and straps as it is.

[quote name='BassAgent' timestamp='1503947365' post='3361785'] There is a great video by Keith Carlock about playing shuffle, and he has a pretty decent Purdie shuffle as well as a Porcaro shuffle... [url="https://www.youtube.com/watch?v=ex2YG_-3Ov0"]https://www.youtube....h?v=ex2YG_-3Ov0[/url] Don't know how to embed this [/quote] Loved that! Can you imagine playing with that going on in the band?!

I've played through two ampeg B15s. One belonged to John Giblin, the other belonged to AIR Studios and used to reside in Montserrat. Both were broken.

[quote name='peteb' timestamp='1503526771' post='3359003'] To be fair, most of the old time pros I've met would have an attitude closer to the drummer in question [/quote] It reminds me of a story about the legend that was Maurice Murphy, principle trumpet of the LSO for decades. The dep on that occasion was the conductor, one Leonard Bernstein. The maestro asked Maurice if the extract they were rehearsing was muted or unmuted. Maurice replied 'it's pencilled in as muted.' Bernstein went into diva mode and went, 'Well hot shot, what are going to play?' To which Maurice answered, 'You tell me, you wrote it.' Professional?

One guy I play with says 'Enjoy' before every song. He's supposed to be a rocknroll star not a waitress.

Do you have a flag? https://m.youtube.com/watch?v=UTduy7Qkvk8

Really good article thank you. If you haven't seen them before you can link to loads of similar articles by The Bass Whisperer himself here http://www.bassplayer.com/styles/1181/rb-gold-miami-soul-stew/57898

It's a funny one as most American G&Ls on here seem to be around the £800 mark. ASATs are a bit more niche and the few I've seen on here tend to be around a while. The tele body and rumours of neck dive (a complete non-issue with mine) are a put off for some, and the value slightly lower as a result. The brand doesn't shift the same as fender and musicman. I think it's the classic G&L conundrum of being slightly too late to the party to have been used consistently on truly iconic records, despite being in my view, and Leo's, the best instruments he made!