scalpy

[quote name='steve-bbb' timestamp='1398756008' post='2437170'] haha awewsome walking bass lines on the hammond i like this vid of snarky with the look on shaun martin's face in the keys solo [media]http://youtu.be/L_XJ_s5IsQc[/media] [/quote] Hol-Lee-F__________

Great call, I always forget what a great band Doves are. Good video too, just what I needed after a thrash of a day. No idea about his bass sound, I'm afraid, more interested in how he sings like that, great voice.

Used a rehearsal studios in Clapham once. There was a big sign outside: Police Witness Appeal, did you see the murder here last week? Like I said, we used it once!

You might find trying to construct question and answer basslines useful and enjoyable. There are many variations on a theme here of course but I like to establish a riff or phrase one bar and then finish it differently on the next. This can be with a different rhythm as well as different notes but it can make you sound like a mine of creativity when you've only altered very small elements of what you doing!

Admittedly my experience with this is limited to a handful of occasions but- it's 3-0 modern vs vintage. Two vintage amps I have used were Ampeg B15s, one of which used to reside at AIR studios Monserrat. Both sounded flat, boxy and small. Now I was hugely disappointed on both occasions as like most bassists playing through one of these is an ambition, especially as most of the records I enjoy employed one. I eventually used a DI or my Hartke rig instead both times. The last occasion was a 1972 100w HiWatt through my DB112s. It did sound good, open sounding and powerful, especially when 'jumped', but when I went back to my LMT everybody in the band recognised it was bass back in the room time. Miles more heft, more focussed and precise. Having said that, we've plugged the same head into a vintage Marshall 412 with Greenbacks and ragged it with a Les Paul. Righteous!

Pretty certain it's him on Funky Broadway at the least, so assumed he's on the rest of that Pickett album- but always willing to learn.

Loved the documentary. I loved the Wilson Pickett/Aretha section especially. I was wondering why there was absolutely no mention of Tommy Cogbill though.

Any comparison between the G&L and the Sandberg? Very similar looking.

[attachment=156901:JazzFestival-GeorgeMontague-25.jpg] Apologies about being in it but this is Edith my three tone sunburst ASAT, 1999 or 2000, so three bolt neck. The only bass I own. Worn (if anyone knows a good setup merchant in the three counties area let me know), dirty but blinking fabulous. Don't own a camera so I've been waiting for a) someone else to take a shot of her and work out how to upload the attachment....

What should be on a band's FB page then? Tips and tricks please!

[quote name='bigd1' timestamp='1393769078' post='2384117'] I don't have a L2000 but I use a G&L Asat that has always had flats on. I think pick ups are the same on the 2 basses. Mine sounds fantastic very big wide sound, and smooth, Love it. Hope this is of help. BIGd [/quote] Trying to resist getting another ASAT for this very purpose, but this makes things very tempting indeed! Pups and pre are the same as the l2000.

Another number 1 guy here. The reason being that it's way more important to be able to play/read/feel the rhythms. The top register is cosmetic, it adds drama but if you listen to any live James Brown, Stax Revue or even Allen Rubin with the Blues Brothers, they'll all drop it an octave for a bit as the top end is extremely tiring. I did my degree playing the trumpet and spent years as a Soul Band trumpeter; the stamina does come back, and breathing and suitable mouthpieces all help.

[quote name='joeystrange' timestamp='1391852312' post='2361945'] I think Krist Novoselic is massively underrated. He may not be the most technical player in the world but listen to any Nirvana stuff and there are a lot more subtleties in his playing than you realise. Especially apparent if you can get hold of some multi-track stuff. [/quote] +1 Johnny Colt from The Black Crowes from the same sort of time too.

Stage left for me. I dance like a complete muppet when I'm playing and I incur less extra expense from damaging cymbals and other guitars if my headstock is practically in the wings!

[quote name='MiltyG565' timestamp='1391555437' post='2358653'] [url="http://redhotchilipeppers.com/news/454-a-message-from-flea"]http://redhotchilipe...ssage-from-flea[/url] [/quote] Totally fair enough.

RCHP aren't bigger than the Superbowl. I should imagine if you're offered that gig you don't turn it down, and you don't mess them around. That's professional. There may have been a number of issues since, but has Janet Jackson had any real attempt at her performing career since her infamous "wardrobe malfunction"? Not that I recall, and in the closely knit entertainment industry, a large part of that can be put down to not getting the job done.

[quote name='Mog' timestamp='1390846137' post='2350290'] I honestly think bands need to take more responsibility. If you expect to be paid for a gig, particularly an originals gig, you damn well better be professional enough to turn up on time with the correct gear and most importantly entertain the regular punters, [i]i.e.[/i] try to play in a venue which regularly has acts from a particular genre and/or with other acts from a similar genre. It is not entirely up to the club owner (or to a certain degree the promoter)to get heads in the door, the band has to be the draw, not beer promotions or entry concessions. The band/act is there solely to provide entertainment. If you think you deserve better pay up you're game. [/quote] Agree with this in part. People are normally at somewhere else in the venue when a band's on because a) the band are too loud (bit cheeky in the article to complain about health and safety when the decibel levels are normally crippling) and it the band doesn't groove. And as much as many people on here will protest that isn't important, if I want to see a live act they must be rhythmically accomplished. Most bands I hear on the radio or watch at major festivals can do this, regardless of genre. Bands need to help each other out too, I legged it to London to play the Miller last November only for the other bands and their friends to be non-exsistent when we were on. Thanks, a 260 mile round trip to play to people we all knew in respective towns anyway. However, having schlepped around London toilet venues for the last 15 years and played many of the "significant" ones, I've only played at two where the promoter had any ability to promote. One did the bill like Later (Catapult Club, New Cross), we were the headline act, so played first for half our set, the rest of the bill was reversed, there was a resident comedian compering, a regular acoustic act half way through then the bill proper. Result, we played to a full room, as did everyone else for the whole night. The other (The Bedford, Balham) actually booked bands from London on the same night, that were similar in genre, had nice food on sale, ( not doing Camden so much anymore..!), had an internet feed and people actually stayed to watch us. For a while I kept hearing the Half Moon in Putney bleating about going under and to be frank, I thought "I'm not surprised." Every time I played there, I paid for a bus out of my own pocket to travel down with our regular home town crowd, a fortune in parking/fines, just to play to those people on our bus. Who could see us down the regular venues at home without taking a day off work, paying London prices for food and drink, and getting home at 6 in the morning after the bus broke down, as happened on one occasion. The other bands on the bill, one from Southampton and one from Manchester was about the most sensible selection, thanks for that, trying to build our live audience to people from towns we'd never realistically play, both being over 200 miles away. There needs to be a bit of intelligence on how to do a gig successfully. I don't recall where I heard this and maybe it's not true, but apparently Kasabian used to play the pub nearest the football ground at 5:30 on a Saturday afternoon. Bit of business acumen that and more than I ever managed.

[quote name='chris_b' timestamp='1390218081' post='2342616'] JD seems to be standing infront of Ampegs most of the time, but I don't know if that's what were hearing. In his live shows he seems to be using an Ampeg cab with a GK 800RB. ....and there's more....... [url="http://www.youtube.com/watch?feature=player_embedded&v=Mk7XuB25hOk"]http://www.youtube.c...d&v=Mk7XuB25hOk.[/url] [/quote] Might be biased but I think those are Aggie 112s, on top of good ol' fashioned good time grooves, naturally! http://www.youtube.com/watch?v=Bm7DwRrKxQM

[quote name='BigBeatNut' timestamp='1390062563' post='2341079'] You may want to listen to [url="https://soundcloud.com/vulfpeck/tone-chaat-joe-dart"]THIS[/url] . Interview with the bassist, focussing on gear. [/quote] Thanks for this! Waded through this for breakfast. Not sure what was lumpier, the porridge or the conversation. To conclude, MIM Jazz, 70s style Seymours, Badass, dead 45-105 rotos. Basslines bass? Flats Squier Classic vibe, flats Cheap, cheerful. No hint on amplification or recording techniques, although I'm pretty certain in recent live vids it looks like he's using a certain 2 112 rig of an alphabetically premium New York manufacturing location.

[quote name='Bloodaxe' timestamp='1389817292' post='2338326'] I always assumed that this was the original: [media]http://www.youtube.com/watch?v=KMxyE9nuXy4[/media] But apparently not. As luck would have it, I do have what seems a pretty accurate script for the Erma Franklin version - dots only though. [url="https://dl.dropboxusercontent.com/u/8453031/Piece%20Of%20My%20Heart%20-%20Erma%20Franklin.pdf"]https://dl.dropboxus...%20Franklin.pdf[/url] Pete. [/quote] You've got to love Basschat, a cracking transcription and a great version of a tune I've known and loved for years but I've never heard. Nice one!!

[quote name='Musicman20' timestamp='1389437504' post='2334097'] Excellent idea. My favorite cab ' tone' comes from the Aguilar DB212/DB112. If you can get close to that tone in a lighter smaller box it would be amazing! [/quote] Ditto, but make it a 412!

You're spot on with where the handle is, and there's no need to worry, they are super study. Only one though, although you could fit another if you really wanted to take a drill to your new cab! I carry mine two handed anyway, being bit of a racing snake myself. The cabs are small enough to easily get another hand round. Up to you with regards to the tweeter, doesn't sound like you've got that long a wait. Personally I'd have the tweeter one first only so I could have it should I require. Mine's hardly dialled in at all, but you might want a more top end tone. Very jealous with regards to the DB750 in your possession. My number 1 source of GAS!

[quote name='grahamd' timestamp='1389193534' post='2331150'] This isolated bass track shows how in the pocket his phrasing really is… jeez… [/quote] My bass is now being used for firewood, that feel cannot be be learnt.

The LM Tube does not do grind/overdrive/ distortion at all without clipping playing some part. It does do vintagey warmth well, and mine has been ultra reliable too, but the presence of a valve does not even give you a sniff of any tonal heat at all!

Anybody know a) what his single humbucker bass is and how he gets that hot fat sound please? Their top tune in my book... My First Car, complete with the grandest cowbell solo ever!!! http://www.youtube.com/watch?v=uUyuGjLy4BQ