scalpy

With or without you - U2 Not just root note quavers, but the second most uninspired chord change (after a 12 bar of course) all the way through. I actually don't mind it either!

[quote name='Doddy' timestamp='1409688111' post='2542312'] I don't think you need to be thinking about having the enough volume to overpower the drums.You need enough to be balanced with the band as a whole, not to overpower anyone. Also, if you do get to play big concerts you shouldnt have to reevaluate your rig, because in those situations you'll always have PA support. I've played some pretty big gigs with my Ashdown MiBass rig which is either a 550 or 240 watt head and one or two 1x12 cabs.Its got plenty of volume to be able to play smaller venues with no support, and has tone for days. I know you're against Ashdown, but I can honestly say that it blows away my old Hartke rig (HA3500, HA4000, 4x10, 2x10) in every way. Personally, I'd be more concerned about you saying that you won't be ready to gig for 6 months. [/quote] A hearty thumbs up to this. One guy I play for has a tidy knack of booking pretty sweet gigs and I just stick with the same 500w amp and two 112s. When the pa has bass cabs taller than you are having a 810 etc doesn't really come into it. Interestingly we did a festival last year (lechlade) and I had to use an ampeg 610, couldn't hear myself anywhere I went onstage whilst it was the only time the rest if the band moaned about me being too loud. Apart from the saxophonist, any bass player would too loud for him if they weren't tickling a brontosaurus violin un amplified!

Have it! Forget locking in with the drummer, he is drummer!!

[quote name='Jack Cahalane' timestamp='1409586710' post='2541204'] Ah you mean the gooch! [/quote]

[quote name='Jack Cahalane' timestamp='1409586710' post='2541204'] Ah you mean the gooch! [/quote] Or boffer's bridge.

[quote name='Roger2611' timestamp='1408730224' post='2533065'] I really don't understand the logic of this pay to play culture, so they want you to bring your own crowd to an otherwise empty London Pub......what exposure is that giving the band...it's already your crowd they've seen you before (without paying for a ticket and travel to London) so who else are you playing to? We played the Bull and Gate in Kentish Town many years back, we brought about 20 People, the band that played before us brought about 20 people who all left as soon as their mates finished, our crowd all got back on the minibuses as soon as we finished leaving the headline band playing to the 20 people they brought along....not a lot of exposure really for a long day out traveling to London to play some grotty empty dive! [/quote] You must have been supported by the same band as us, exactly the same thing happened! My old band used to do the whole London thing a lot (before social media)How a promoter expected you to build your audience when the bill would be one band from Manchester, one from Norfolk and one from the West Country, I have no idea.

Good music and good times are exactly that. Keep playing if that's what you feel.

Planning a bitsa bass project sometime soon, and have been a while. So I've been laying the ground work over the past few years since i upgraded my amp with," I can't believe how much more work I'm getting since I got my amp", "getting paid much better for these gigs since I bought my amp, it must have paid for itself many times over" type comments for ages now. Might work....!

It's funny it's ok to video a concert but by my reckoning most would frown upon videoing a theatre performance of a musical or play. Despite the obvious copyright issues etc. PF is fine in my book to have a say in the quality of product he produces that the public has access to. People who video gigs just to put on YouTube fit in the same bracket as those who by m sport badges to put on any old BMW......

The only example of her work I know is the rather un festive Merry Christmas but I think I'll give this one a miss this year, but Tracy Wormworth from the waitresses rinses the bass part. Definitely a bonus at that rather fallow musical season.

A producer I manage to blag the occasional session with has worked for Paul McCartney, Johnny Cash and John Martyn amongst many others. Pretty intimidating but lots of great anecdotes. I also did a festival the other day and the engineer was very kind and helpful, paid the band some compliments, I gave it the old 'Well you can't make chicken soup out if chicken shi* can you?' To which he looked mildly bemused. Turns out he did the sound for the Olympic opening ceremony- doesn't need small fry making wise cracks then!

[quote name='uncle psychosis' timestamp='1406203344' post='2509264'] I recently bought a G&L M-2000 (Tribute) and its fantastic. Really versatile. [/quote] This or any l 2000/2500 bass. Tributes are great, the American basses are killer. Why G&L aren't more common than stingrays is beyond me!

Understand Duck Dunn was a genius. And wear a hat onstage if your wife who has small hands and sings in the band says so.

Texted this news to my guitarist, a big JW fan, also a gp. He said 70 was probably a long life for someone who slept with Janis Joplin!

Yeah, pino's great isn't he? Doing much better than I did as one of the many original bass players on this project!

[quote name='JapanAxe' timestamp='1405431823' post='2501834'] There's nothing like playing with people from a higher league when it comes to improving. [/quote] Absolutely. It's amazing in this situation how much advice get, how much better at listening you get and how much you develop the mental capacity to play better. Not saying I get it right all the time or that I'm pino mind! But you have to have the resilience to put up with mistakes and manage your expectations about how fast you can actually progress. Much as it pains me to say it I've had to establish a slow and steady academic practise regime of scales and metronome work and it over time it's working.

Ahem, 10 for me, close call on number 7 though.

[quote name='skej21' timestamp='1404509847' post='2493437'] Aguilar DB112NT for me. Just the right amount of every aspect of tone. Warm, responsive, not too much treble (thanks to the lack of tweeter), reasonably lightweight and looks AWESOME in tweed. Perfection for me. [/quote] I concur. And two is great!!!!

Abe is the man, certainly. One session guitarist I play with, who also engineers and techs for an international band reckons he can tell how good the drummer is just by how they set up their kit. After pondering the OP a week now and playing with two different drummers in that time, I've refined my preference for a drummer that has that sense of time that allows me to sit back, I hate having to push the band along. Can't define it any better than that though, and what I was after was a qualitive answer to my original post!

DB412 in tweed= dream cab for me! Very envious of your dilemma.

Interesting stuff. I totally agree about them being nice people, and I've experienced the local legends with the great cv who can't groove for toffee. One guy sounds exactly like the case above, reads, experienced, but the band just doesn't go and I end up over working the rhythm to compensate. Not sure about the necessity for killer chops, Thinking of someone like Phil Rudd he doesn't exactly cane it but the pocket is massive. Something I do agree with is the best drummers are always in the right gear for the section of the song and can still groove quietly if necessary. Oh, and have great touch on the cymbals.

Being bit of an odd job player I get to play with plenty of different drummers. Most are of a good standard and have an impressive cv and qualifications from significant colleges, yet some do just don't cut it and swing like a concrete lamp post, despite everything being technically ok. You know, in time, comfortable volume, nice kit etc but it just ain't happening. One guy I play with however does everything the same to a casual listen but grooves so hard I'll be buzzing the whole day after a gig. The drummer who always has the room dancing and going crazy- the guy who's never done a minutes private practice in his life and is probably the least educated of any musician I've ever played with. So what is it that makes a good drummer, I can't work it out by myself!? Musicianship, a very hard thing to define....

Fortunately the drummers I work with are pretty swift, but one has the undesirable knack of unloading his car full of kit and dumping it all over the entire stage. He's set up quick, we're not! On the subject of talking between songs, the function band I play in aims to start the next song before the audience has stopped applauding. However, another set up has a singer guilty of talking too much between songs, I might send him a link to this thread, after I've changed my avatar of me playing at one of his gigs!