scalpy

[quote name='BobVbass' timestamp='1264683727' post='727508'] Absolutley forst class and inspired playing in Abba's tunes - I learnt many for a functions band I was in and was so surprised I hadn't noticed how great the lines were. Other surprises - Kenny Loggins - Footloose - cracking bassline (sounds like a synth to me) but great laugh and (preparing to be shot) Alan Lancaster's stuff for early quo <bang> really great solid and unusual in places [/quote] Footloose- Nathan East. Right, back on topic...!

How do you narrow it down? At this precise moment... Any of the James Brown drummers- you choose! Steve Gorman (Black Crowes) Ringo (would always figure)

Enjoyed breakfast. Just lost it.

You're more than welcome to try out my rig if you wish. Very similar solution- LM Tube, 500W version and two Aggie DB112s. The cabs aren't particularly light but the size is ok and they certainly have some heft for a small rig. They do colour the sound but hey. this is a personality led art form!

Grunt, snort, heavy breathe, swear. bounce up and down, stamp foot, gurn, bite lip. Just in the groove, y'know!!!

Music made by session players is lifeless and not proper music. You should listen to Stax and Motown and Zeppelin. Not exactly joined up thinking.

Have gigged and sessioned one bass for 13 years now, despite the constant GAS after joining here! However, I only use a fretted. In your shoes, I'd stick with two.

Just had a very eye opening revelation as to how good Pino is. A few years back I did a session for a private client, a songwriter that had made some cash in property and wanted to hear his songs given the full studio treatment. I knew the producer that was being used and got the call. I did my thing, gave it a good go, came away thinking the guy was polite, happy with the job I'd done and paid up but he wasn't bouncing off the ceiling. Well he can't have been because he got Pino to do it instead, apparently it took him half an hour and everybody loves it! Lesson learnt! http://vimeo.com/58208348

I always get mic'd and DI'd, just to give the engineer options. He uses the DI straight out the back of the Mark Bass I use, and takes it post EQ too! The most valuable piece of kit to me is just broken in strings, intonation's better than old strings.

Great letter, and I loved the record. Starts with Serve the Servants, later goes from Tourettes to All Apologies. The sound of Sixth Form.

Probably a well known fact by this community but I'll reiterate it anyway! Macca owns Bill Black's famous white binding bass.

[quote name='dub_junkie' timestamp='1379941589' post='2218454'] My silver flake L-2000 [url="http://s152.photobucket.com/user/dub_junkie/media/G%20and%20L%20L-2000%20silver%20flake/20130923_110551_zps41f3853e.jpg.html"][/url] [url="http://s152.photobucket.com/user/dub_junkie/media/G%20and%20L%20L-2000%20silver%20flake/20130923_110524_zps203e9ad0.jpg.html"][/url] [/quote]That's the style, love it!

A student of mine has a M2000, sounds great, the bridge pickup in particular. The neck is very playable and I've been very impressed with the build quality too. Tributes have the same pickups but the cheaper electronics do affect the ultimate punch and strength tonally compared to the USA models to my ears. Second hand American examples are the bargain of the century, in fact, I never quite understand why people would want to sell theirs! My ASAT is an absolute rock, I use it for everything from Ceilidhs and Pit work to balls to the wall rock and roll. I only use two sounds, active always on, everything full up, bass boost on, just toggle between neck and both pickups. Why you don't see more people playing the L2/500 series in particular (I understand a tele body is not to everyones taste) is beyond me. That's right, I'm a dyed in the wool G&L fanboi!

It's the biggest cliche in the world but- learn your scales and arpeggios. Not only are you learning the fingerboard, improving your dexterity and stamina, your ear will be becoming accustomed to the various intervals, especially if you make a point of thinking what they are before you start the exercise. Also, practising hearing the chord changes will really accelerate your learning of new tunes and your ability to memorise them. This means recognising chord I and mainly IV and V before learning the less frequently used ones. Going back to the blues is really useful, it has a tried and fully exploited chord pattern, but if you get into the jazzy versions afterwards you'll track the variations and your ear will spot the chord IIs and VIs etc much more easily.

Most at home playing Soul or Rock. When I try to slap it feels like I'm committing GBH. I imagine, I hasten to add.

Time to join in. Band head honcho posted this of a gig on Monday, quite pleased with it! http://www.youtube.com/watch?v=Dj70BuBk8Rw&feature=c4-overview&list=UU6GHrLKTYkrU5N6IqCUY9ow

[quote name='kevin_lindsay' timestamp='1378560222' post='2201829'] I usa an Aguilar DB680 preamp through a 1,200 watt power amp, into Aguilar DB410 cabs. Sounds nice. [/quote] Most of Scotland probably agrees! Where some of the members on this forum get too unleash the full potential of their rigs I've no idea. See signature for mine, love it to bits despite a few niggles with the head, but get lots of compliments about the sound, even hire it out a bit.

Does your amplifier help you enjoy yourself? That includes the whole transport / stage footprint/ contentment of soundman and other occupants of the stage experience. If yes, then it's fine.

Hartke had their most prominent decade then didn't they? Still got my XL series 410 from the time and you guessed it, it's really heavy!

[quote name='Mykesbass' timestamp='1377634188' post='2189775'] Thing was there were all the union restrictions back then so, like Bloodaxe mentioning Big Jim Sullivan, I think there's a strong chance it would have been a British session player. Love the avatar - one of my favourite films [/quote] Good point about the Union practices of the time. The thing that gets me about that period is the standard of musicianship was so good, the pros either side of the Atlantic were playing such long hours all the time they monstered most charts put in front of them. It seems daft but even if you watch the old Muppet shows, different guest every week and heavy names too, and the band would be laying it out. The closest we have to that now I suppose would be the Jools Holland Orchestra, and as fantastic as that band is at their own arrangements, personally I think they lack a little something when it comes to playing material from another repertoire. Two examples that spring to mind are the Booker T and Bonnie Raitt performances from recent series. Maybe it's because the 60s guys were the sound of the popular music of the time and working on chart material day in day out. We all know how few musicians are involved in some material now, and there isn't that pool of talent that is shared across different playing disciplines. However, if I could play like Mr Swift I'm sure I wouldn't give two hoots about the opinion of some forum expert! Anyway, the clip is still great even if my preference is for the original. That's just because Kosmic Blues must be one of my desert island albums and Janis is one of the few vocalists that have me hanging on every word. Regarding the avatar, can't believe no-one thought of it before.

This is one of the baddest, bestest basslines ever committed to tape. Have it! http://www.youtube.com/watch?v=bcC4h5c4LoY

Great, thanks for that. If that isn't Brad Campbell, somebody did a great job of copping his style!

Albion Amplification. One of my favourite bass players, David Barard formerly of Dr John's band uses them, never heard of his amps over here. http://www.albionampsus.com/david-barard/

http://www.youtube.com/watch?v=c9ZdHjnSDdw