scalpy

http://www.youtube.com/watch?v=Pws0ITGyogo First time I heard Floyd, 13th birthday present.

+1 to Billy Cox and Noel Redding too, and Jimi was no slouch either, evidenced by All Along the Watchtower, as if the guitar playing wasn't enough! Could I nominate Johnny Colt as well from the Black Crowes? Can't have a tight but loose band without a tight but loose bass player!

Probably the trickiest thing you'll have to negotiate is G&L's infamous tacky foam that holds the board in place. Stickier than beelzebub's bogies!

I'm looking at getting one as I'm doing 4 or 5 theatre gigs a year, and the scores often drop below E. Some of the charts are double bass where it seems common practice to have some sort of drop facility and the bass guitar charts seem to presume you have a B to be honest. Other shows are make up something off the piano part and it sounds stupid jumping octaves during runs etc. So a Lakland DJ5 or Stingray 5 are causing GAS at the moment, the trouble is I need to do a few more shows a year to pay for one!

DB112s too obvious?

Isn't it just a question of how the music affects you? For instance- I can't see the appeal at all in the female cast of Hollyoaks at all but that New Girl is something else! The frequencies are in alignment! That's how I feel about music too, some types of jazz (bebop and the like that my music college peers all stroked their chins to) irritates me into another dimension yet I can listen to anything Booker T related until the cows come home. That music has resonance for me. I thought musicianship, not being a player, was about being able to generate that resonance with your listener, and we have to accept that as musicians we slowly become more articulate and able to understand the language of Wooten et al whilst the complexity of those players (musicians?) becomes impenetrable to people who are used to the immediacy of simpler yet just as effective music. Technique doesn't equal good musicianship, nor does complexity etc. I wish I was articulate enough to sum this up in a short post, but to me that's why someone like BB King is a great musician, he can say what he needs to in 3 notes- not 30.

[quote name='risingson' timestamp='1329942304' post='1550205'] I'm not mad on Dirty Loops, but I've got to say that guy is an incredibly impressive player. [/quote] Ditto, wish I had his hair, sorry, technique.

I liked it.

Hmmm, does my back pay go on one of these (DJ5 Skyline Blue) or an engagement ring...? Decisions decisions....

We call it gunting. A contraction of Gig Hunting and it's about as pleasant as it sounds. Go direct to venues as much as possible and book small ones to pack out rather than halls that look half empty with the same number in. Promoters will be chasing profit so need to you to prove you bring in a crowd. I do organise a few gigs a year and I've just booked one band just because they've got 3000+ views of a song on youtube (big news round our way) and are regularly in conversation with those leaving comments, it's reassuring. Don't book too many gigs and if you do get some go all out on treating your crowd that you've diligently assembled to a new experience each time, pull that off and promotors will come looking for you. My old band got blacklisted by many a London venue for impressing the promoter with a good recording then not bringing the punters through the door. We were interested in music but forgot promoters are in the music business.

[quote name='skej21' timestamp='1329646280' post='1545149'] Whilst I try to keep some original lines the same for authenticity, i can also understand why some bassists choose to do something totally different... It's hard to be creative and push things forward if you stick close to the original all the time. We as musicians also seem quite hypocritical about covers. If a covers band move away from the original it's seen as a sin, but if an established act decides to do a totally different cover of a song, everyone raves about how great it is. Why can't a covers band have that freedom too? [/quote] Agreed. Also, you can so easily look up the original artist and see them doing many different arrangements of their songs. We all know Jamerson was a demi-god but he played it fast and loose with his lines live. When he was no longer around Marvin Gaye didn't even attempt to make the new guy follow that part. My band want the audience to feel we are credible so sometimes we go for as accurate as possible, sometimes we simplify and sometimes off on a tangent. If you want to do note for note join an orchestra.

California Girls- The intro chord sequence is divine. The Rite Of Spring (LSO Claudio Addado???)- I know it's a bit passe nowadays but I still love it. Gallows Pole off Led Zep 3- Bring on Bonzo All Apologies- Nirvana- How to hit a chorus. Obviously this is a great thread and I could go on for days

It's not what it's how.

Obviously sound first, but I'm not one for that kind of body shape with that neck- it just smacks of teenagers photoshopping their ideal woman together, never as a good as they'd hope. A good instrument just feels good, the character has to be complete. If it's in sunburst- even better.

1 DB112 ain't that heavy- you know it's the way forward

That's gorgeous- want it.

We had a drummer less rehearsal the other night, everyone in the living room with Apple Loops being run through a small monitor. The guitarist was complaining he couldn't hear the drums but there was no way of giving the loops any more juice, so we had a bit of a chat about playing technique and actually listening not just hearing with everybody (2 vocalists- 2 saxes- keys, bass and guitar) et voila, loops spring out nice and clear. We had a full rehearsal and applied the same principle, the volume was easily manageable, my rig was set to 9 o clock and this is with the drummer using a fully cranked Ludwig snare. In my rock band the drummer and guitarist are a sound engineers nightmare, psychopath and 120W half stack respectively but they play well and I just don't need volume to keep up. That's using a 140W head at 8 ohms into an old Hartke 410. My point is that threads about how much power keep coming up and it normally ends with 3 general schools of thought, "I manage with a tin can and a piece of string" or "There ain't no substitute for cubes" or the scientists quoting the barefaced website. I can't recall many people saying play tidily, with rhythmic precision and musicality and it's amazing how much you can hear all of sudden. The best thing about this is you don't need a van full of boutique gear or the technique of Wooten, you just need to listen! I shall sheepishly climb down from my soap-box now...

Will you lot keep quiet about how good G&Ls are, we're meant to keep it to ourselves and just sound better than anyone else!

Hello to another Herefordian!

First it was into a car boot bought plastic record player via my dad's ultra complicated system of crocodile clips. BC Rich 30 Watt combo Laney Linebacker 100 watt head and a HH 215 (Norfolk and Good) Hartke 1400 into a Hartke 410XL Currently the LM Tube and the aggies. Sounds great and is perfect for what I do now but 410s are more fun. Pretty minimal for 24 years of playing!

We have fun thinking of different genres and then doing the desired song in that way. So Crazy by Gnarls Barkely starts with a Tango and Poker Face has a purdie shuffle. Some we do straight as it were as going nuts all night long turns punters off. However, it can take a bit of time getting all 8 of us up to speed so wood shedding is the only way forward. As the keys and saxes are reading that's not to bad and we also do sectionals, just the vocals and me, or just the drums, guitar and me.

We train ours with raw meat.