scalpy

Harry Sutton- Herefordshire

Most of the people who wrap it round a tree this way seem to be the dubstep cliche types. But they've got no songs so wouldn't obviously make the list!

[quote name='lojo' timestamp='1357922721' post='1930722'] Shake a tail feather, then gradually the whole street joins in [/quote] Genius. Another blanker here, same as soundchecks, then it's comedy bassline time, Good Times, Under Pressure, You Can't Touch This etc

Have I read this right? 3 pages and no Al Jackson/ Duck Dunn? If that's correct, be ashamed Basschat!

Second Line! Love those crazy rhythms. Check out Right Place Wrong Time by Dr John for more George Porter Jnr genius!

You don't need an Italian supercar to do 150 miles an hour, but I'm guessing it's fun. Likewise, you don't need a massive fridge of a cab to be loud, but it's so much fun when you do. A lot of number crunchers forget this. From this viewpoint- more speakers. Interestingly, I also think the people you work with or play to judge the volume you play at with their eyes, ie they take one look at you squeezing through a door to a band call with a 410 on your chest and your face redder than a baboons arse and they think "the bass is too loud" before you've even plugged in. Turn up with the cab in one hand you can play the same volume and you can be complimented for being "sensitive!" In that respect (and it does earn you more money!) - more watts.

Had to do a kit share with a guy using the Ampeg. He was worried about it's reliability and I have to say my markbass knocked into a cocked hat, sound-wise. I won't say what cab he ran it through just incase he's on here but it was the first time in a long time I struggled to get a sound I was happy with. I'd have the tone-hammer every time from your short list, and as I often say on here, a Hartke 410XL isn't a bad place to start for a 410. There's a lot said to bad mouth 410s on here but mine is great fun, tonal shortfalls accepted.

Another mono-bassist here. Had GAS for a 5 string but just bought an octave pedal for the times I can fake it below E! GAS cured. In 2012 (playing isn't my day job) I've done 6 shows for am-drams, soul band function work, gigs for a singer-songwriter piano playing youtube hit and a handful of sessions and all just using just two settings on the ASAT! If you maintain your instrument and have a bit of common sense you only need one bass. A G&L!

How the clabber did they do that?

Hendrix described Mitchell as his "Bar of Gold". In my book that means he's untouchable! Noel held his own- 3 albums and seemingly an impossible number of gigs before Jimi said enough was enough. Must have meant he was a poor bass player! With regards to saying that Oasis, Coldplay or U2 have poor bass players- they are performing their function, they've travelled the world and millions haven't realised they've heard them play! Laughing all the way to the bank would be my guess. Doesn't the guy from coldplay have a Ferrari Dino? As an aside, I'd rather stick pins in my eyes than listen to the above three bands but I recognise it's a style of musicianship that is extremely difficult to pull off. I'm guessing the members of Basschat won't be headlining Glastonbury next year with their combined Victor Wooton/ Stanley Clarke tribute...

Anyone who doubts Cliff Williams musicianship, (which he practises through playing the bass.) should watch ACDC Live at River Plate. A stadium of people turned into one churning mass of celebration and communal enjoyment. Music at one of it's most base, feral and inane levels, but also pure and meaningful as well.

[quote name='Doddy' timestamp='1356372014' post='1909677'] Nearly,it's sampled from the Billy Cobham track 'Stratus' which had Leland Sklar on Bass. [/quote] Excellent! Saw him play for Phil Collins in 90, never knew that though.

Ninety Nine and one half (Just won't do)- Wilson Pickett (Duck Dunn) Thorn in my Pride- The Black Crowes (Johnny Colt) Ramble On- Led Zeppelin Safe From Harm- Massive Attack (I believe a sample of Billy Cobham playing bass)

[quote name='Lozz196' timestamp='1355904960' post='1904127'] Darn fine cabs, the Hartke XLs. Prefer them to the Hydrives. [/quote] I occasionally run my LMT500 into an ancient american 410XL, no tweeter. Sounds way, way better than it should and it's tons of fun. Old XLs are bargains if you can pick one up (which reminds me- it's bit of a bertha to lift.)

Not to play ahead of the beat!

Learnt to play both at the same time, got to a similar standard on both but never felt like a guitarist. So decided to concentrate on bass and I really progressed, and got a lot more work as a result. Now it's come full circle and I'm getting even more work now I've made a few contacts and they know I can double. Interestingly, getting ahead on bass is now really helping with the guitar!

An unbelievable musician, almost incomprehensible how much skill and knowledge has been lost, but he did so much to educate and entertain as well. My mum knew him when she studied at Dartington, and he once dealt with the police when she arrested for D&D! (She was found singing in the middle of a river!) He hardly knew her, but approached all of life with the warmth and affection he put into his music. Ravi has come up in conversation with many of my musician friends, and many of them who have seen or met him all mention just how his positivity made their encounters truly memorable.

See avatar! Get loads of positive comments about the look. The sound depends how well I play!

Page. Never seen anyone else blow the mind of 125000 people in 3 notes. Knebworth 90. Never got over it!

Caught the first half of this, this morning. http://www.bbc.co.uk/iplayer/episode/b01p3c8w/imagine..._Winter_2012_How_Music_Makes_Us_Feel/ It's very, very interesting especially regarding with regards to what a listener expects in a piece, just notice where complexity ranks in the graph they use, but it really made me smile when a musicologist suggests bass reminds us of large things, like dinosaurs roaming dangerously. Treblists, beware, we are the sound of fear!

My set up is reasonably similar to the OP and have to agree it's a bit fiddly to get the sound spot on. All the posts about the amp EQ are pertinent but as a G&L player I would recommend playing through as many rigs/desks with various EQs etc as possible to get an idea of what your instrument is capable of. The G&L tone can be a bit hard to pin down so you need an idea of how what you're listening to breaks down into you/instrument/amp/cab. Despite the myriad of options using a G&L pre-amp I've found that I only used to use 3 with my old rig, and 2 with this one. However, since getting these sounds about right my playing commitments have quadrupled (seriously!)- I hope you have the same luck!!

I have grade 5 piano but I don't feel like I'm a piano player. I have grade 8 trumpet and a degree bas(s)ed upon that fact, but I never actually felt like a trumpet player. I can play the guitar well enough to be asked to be in bands and do sessions by other people but I don't consider myself a guitarist. What resonates with me, the instrument that I identify with and the musical role I fulfil, is the bass. You're a bass player when you feel like one, when you identify with the job you're doing and the difference you make in that musical situation.

They mess with my amp settings. And my drummer's memory.

The 12s have only run out of juice once for me, at a big (by my standards) 1000+ venue. I know Higgie says the 212s have a lot more bottom, and if I was running a DB750 those would be the ones I'd go for. In tweed, of course.