scalpy

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!

Thank you again assembled brains. I'll give that stuff a try.

Thank you people. Just wondering now if there's an ideal brand of switch cleaner?

Hi all. Being a complete electronic numpty I apologise if this is too straightforward but my lmt500 has got a bit scratchy on the old volume knob. This also pulls out to become the mute (not my favourite design feature) I keep it cased or covered at all times but it sounds horrible and unprofessional adjusting it at the moment. The late great otto fixed a similar problem on my bass by spraying tons of switch cleaner around but I am very hesitant about applying the same stuff to my amp. Any suggestions would be greatly appreciated.

[quote name='moonbass' timestamp='1402221573' post='2471028'] ...Oliver? [/quote] Some shows can root fifth root fifth hell admittedly. I just spent a week doing one like that, (somebody had even written in all the notes, not always correctly in biro) but you have to content yourself with being accurate with note lengths, dynamically accurate, hitting the tempo changes, phrasing with the rest of the band, jumping back for the new scene change music the directors added for the last night, vamping for twice as long as you thought you would because someone's stuck doing a costume change etc etc and all the usual things that happen in live theatre! I love it, but a week at a time does me, how the west end guys do months without going insane I have no idea.

Take both your cabs but just use the top one. Same footprint and you can hear yourself just that bit better! Also, one tip I've learned off the old hands is to make your pencil markings as soft as possible, makes rubbing them out on the last night much easier.

[quote name='JTUK' timestamp='1401799882' post='2466947'] Since Leo Fender got the MM so right you basically had the final draft right from the gun, so there isn't anything the G&L could add IMO... I think they do ok now, but that might be more about what EB has done with the MM brand than a need for a G&L. I tend to think the G&L basses tend to try to be everything and don't convince at most.. I am not saying they aren't decent basses...just a bit blah..!!! [/quote] I got into G&L because I couldn't get Rays to work in every situation. The G&L for me is a one stop solution. Doesn't come with an eye catching pick guard or cool looking 3+1 headstock though!

Hi paulbass, another Herefordian here. A while back I was playing in a originals rock band this way and we had some great gigs from using the Broad Sheep magazines venue guide. Several of the welsh venues up near us often have parties of bikers booked in if they're a hotel to, because the guys are all out going nuts on the welsh roads! Might be worth looking into, this was up towards Brecon and Powys.

Thank you for the advice. I did indeed offer a lower rate, it's my first time with the client and I wanted to be sympathetic to the fact it's self funded. Not business minded at all really and playing only offers a nice subsidy to the day job but it must be tough for full timers pitching rates attractively all the time.

That's the badger!

Flipped towards the volume! Not one for technical terms!

Hi and welcome to the G&L club! My ASAT serves me well for all occasions, anything from Ceilidhs to bass to the wall rock. It's always interesting reading how other people set up their bass but mine is always flat out with the volume/bass/treble, active, bass boost on and normally both pickups. Admittedly the gain on my amp is open by the smallest margin! It took me a while to get used to the sound of the bass but now my playing style has evolved. I have tried the m style pre on a student of mine's bass and it is more accessible, a nice modern take on the pickups, although it can overpower any amp if set up incorrectly. I'm too dyed in the wool to consider changing but for the money an m series has to be one of the best value basses out there, the 'tribute' logo has absolutely no detriment to the quality.

Hi all, I'm just wondering if I should discount my normal studio rate for a session that will hopefully get off the ground this summer. The project is a self funded job by the prospective clients and I can't decide whether to just quote my usual daily rate or to offer a "bulk deal"! I don't want to blow their budget but likewise I don't want to sell myself short. It'll be a residential job and only a 60 mile round trip so transportation won't be an issue. Not being Pino my previous record for a recording session is two days so a week is quite a step up! Any advice would be welcome, thanks. Scalpy

Pretty certain as much as we all love Barefaced's super science actually we're right website they'd sell even more cabs if they put a few pictures on. Or is it £40 to look at a silver grille cloth? Back on track, these cabs are the first Barefaced ones that sound like they've got some colour, something I like.

Markbass Little Mark Tube. For exactly the first situation you describe. Not the most popular Markbass head but I really like mine.