scalpy

Hendrix- all along the watchtower

[quote name='tauzero' timestamp='1443027376' post='2871639'] You do mean the awful acoustic version rather than the masterful electric version, don't you? David Bowie, there's another one. [/quote] I'd wager the original. Passable up until the piano outro. Then the banshee slide duet that is quite simply hideous.

Really fancy one of these for pit gigs.

Nicely done, thank you. Good to see where I've been going wrong!

Johnny Cash, ring of fire. A case of guess when to change chord. No verse is quite the same!

We played a fashion festival where the compere was a middle aged, slightly overweight leather tanned bloke dressed in speedos, straw hat and shades. As we were struggling to get through the backstage area full of wannabe models and fussy mums the drummer couldn't get passed this guy, who backed his thinly clad arse right into him. The guy turns round surprised and it turns out to be Keith Allen! He was great, and promptly persuaded everybody to move out of our way.

[quote name='Big_Stu' timestamp='1439589348' post='2844291'] My son's band were given a pair of the Marshall ones about 15 years ago. Each one contained a pair of Celestion 25w 12" Greenbacks and a pair of 10"s. Sadly the speakers were worth more than the full cabinets. [/quote] That's really surprising! I know a guy with a set of all original Marshall vertical 412s and he calls them his pension!

Got guitars with blood spots on them from years ago. Mine, of course!

The guitarist in our function band is a vintage valve amp collector and his argument for paying a premium is that there's something special about the fact the gear is often hand made to a large degree, done in smaller numbers and gives you therefore a more tangible link to the music that he enjoys and fired his passion for those artists. There is an argument that they sound better and as ever that is subjective and the law of diminishing returns applies, but the fact the object was there at the cutting edge of that time is rather special.

Just note it's an Em chord in the notated version. Makes this tune mixolydian, which can cause a meltdown if trying to work stuff early in your transcribing career! not sure where you are with theory but if you don't know that's a major scale with the 7th flattened by a semitone.

Easy- G&L. L or M series.

[quote name='alexclaber' timestamp='1438372936' post='2834126'] No, that's my exact point! I have never miced my cabs for gigs or recording. Since 1999 I have used the most accurate cabs available. That doesn't mean I've always gone for 'pristine' clean tones. I'm a huge fan of dirty sounds, pushing preamps to break-up, using piles of FX pedals, doing extreme EQing. Even when I'm running a completely clean sound I'll attack the bass in a multitude of ways to get a huge variety of sounds. The more accurate the cab, the more you can hear how my hands are shaping my tone. To continue the seasoning analogy, you could say that using an accurate cab is like cooking a dish and putting the salt and pepper in before serving as opposed once its on the plate. [/quote] I was thinking about my post and was going to add a caveat agreeing with you!! Whoops, I'd actually stopped reading basschat to do some practice.... If you need a transparent cab to get what you need then fair enough. I like the cabs I use contribution and they get miced when I'm in the studio, but I work with a producer that is willing to do that and who also appreciates this business is about character.

[quote name='alexclaber' timestamp='1438363997' post='2834013'] I understand that plenty of bassists want their amp and/or cabs to add colouration to get their tone. But there are a LOT of great bassists who usually recorded via DI. Every single Motown bassline was DI'd (let me know if you know of one that wasn't!) If the late great James Jamerson wanted to get the same tone on a gig that he had on those recordings and he was alive now he could run through that same preamp into a power amp and through something like a Big Twin 2 and absolutely nail that awesome Motown sound. Sadly the few times he toured he had to struggle with getting heard through some of the mediocre rigs of that era. There is no way you can say Jamerson's tone is like "pasta with salt"! [/quote] Can't believe I'm challenging Alex Claber here but.... Jamerson's studio sound is a long way from the modern concept of a DI. He and the other guitarists ran into a headphone amp that doubled as a DI and the signal broke up as they cranked their volumes up. Definitely salted that pasta! As for onstage cab sounds, personally I think as long as I'm playing at a volume that doesn't effect what front of house are doing then I want cabs that I enjoy listening to, that are fun to play through and make me feel good about what I'm playing. Leave the clinical stuff to the sound guy!

You're only as good as your drummer- the Beatles are the greatest band ergo Ringo is the greatest drummer. •Runs for cover•

[quote name='gjones' timestamp='1438203830' post='2832580'] I usually go 'Dunk' and the sound person says 'thanks that's great'. [/quote] Ditto!

Dave Grohl put it well in the series he did in all the different studios- 'the gentrification of rock'. I was a teenager in the 90s and did the whole grunge thing, really wanted to rebel etc. Now I'm a music teacher and the kids look at me with my electric guitar the same way I used to view teachers who told me about jazz. I used to think they were awful, but jazz was gentrified by then and now I've learned a bit more about it I know the original jazzers were badass in their time. A large part of the problem for the new generation is that it's so widely publicised how much the previous generations have rebelled. We've had the tattooed devil worshipping drug taking screw anything with a pulse scare stories for decades now. When I told my dad I wanted to grow my hair it was fully in the knowledge he'd done it too. When I told my mum I'd been at a party with people smoking a bit of weed, I knew she'd done that back in the day too. It might be my lack of imagination, but there's very little left to exploit!

Very similar tastes, Mrs Scalpy and I. She introduced me to Alison Krauss' music and maybe I've introduced her to some classical stuff but we'd tear each other apart if we had different tastes. And it means we can play in bands together really easily.

Dives can be awful gigs, and scary, but if they go well and the place kicks off in a good way they can the best gigs.

Two drummers? Now this thread's getting ridiculous!!

Hey ya- outkast, but then our band is called The Hey Yahs! The horns and keys do all the synth parts and it's a great excuse to break out the filter pedal.

It's the same with the 60s p-basses, I have GAS for a sonic blue one, two have come up here recently but I haven't been able to get the funds together. Played an oly White jazz yesterday (new) and it was blinking great!

Did an album for a singer songwriter called Donovan Preston at Rockfield, Monmouth. When I can post a link it'll be up post haste!

I live in the converted loft of a Victorian house. If practising I don't even use headphones, unplugged has been fine. But our downstairs neighbour has taken to leaving the front door tothe building open at all hours, despite many polite conversations and communications in writing. So I make sure now once a week I play the entirity of rappers delight fully amped when she's changing onto night shift. Not big and not clever I know but enough is enough! In other circumstances when we've had to organise a quick rehearsal at home for a gig at short notice, we invite all the neighbours, get a few bottles in and have a nice informal run through and nobody minds.

Just outside Stroud. Great place to play, eat and stay! http://www.theconvent.net

If anyone doesn't know, the Convent ain't your average dog n' duck gig, it's fully kitted out with db pa, in- ears, neve desks, multi camera subscription based net broadcasting. The restaurant is amazing, if you play there you're being paid to eat top quality grub! Quite right for the guy who's invested millions in the place, who lets bands borrow his matchless amps (Mr Quaye included by the looks of it) to insist on quality control! The other thread on here about Gibson slates the MD for taking advantage of customers, nice work this fella for leading from the front and looking after his customers.