scalpy

[quote name='discreet' timestamp='1326712770' post='1500726'] Now I'm in a 9-piece soul band, I've got to say Donald 'Duck' Dunn. [url="http://www.duckdunn.com/"]http://www.duckdunn.com/[/url] Check him out on the Stax/Volt Tour of Norway, 1967: WARNING: Norwegian Hippy content! [media]http://www.youtube.com/watch?v=M_mKy-a6d1I[/media] [/quote] Always the Duck. This gig is great as well although he later complained the Marshall backline couldn't handle his aggressive picking technique and he was always breaking it. Along the same lines, I got Standing in the Shadows of Motown for Christmas so I'm a major Jamerson binge at the moment.

Knowledge is Power!

Still want the 500...

I put my tweed aggies by the TV any chance I get! There's no utility room, garage or shed in our flat so most of the time they live in the spare room, which was recently redecorated and rearranged. Despite much notification the interior designer (the good lady) failed to comprehend that amplifiers and instruments do take up floor space and cases don't tend to go with the rustic cottage motif/ambience. So when we have guests all my kit ends up at work, or by the TV!

Back when I was trying to get rich and famous it worked like this. Ring Ring- "Hello, you have reached the staff absence line, please leave your name and date after the beep." Me- "It's me, I don't know why but I can't get the hang of defrosting chicken, I guess I'll be better after a day like last time." Couldn't/wouldn't do it now with my current boss...

If I recall correctly, it was recorded by Geoff Emerick as well, a man who knows how to get good sounds to tape. So a large part of the sound will be big diaphragm mic+meters in the red.

Actually done 7 in 6 days- pit gig! Cons- MD way out of his depth, can't conduct 4 (does it back to front, but that's the only one he does that way...) very loud keyboard amp doubling many of the parts, unpredictable cues and tempos. Pros- rest of band top people and cracking players, genuine professionals who have that little bit over the average weekend warrior like me, so great from my point of view to try and cut it, rig turns out to be perfect for this kind of gig again, shaking the floor at low volumes, and one underscore number that was bass solo from start to finish- 32 glorious bars whilst the audience shuffled in their seats!

[quote name='solo4652' timestamp='1322570153' post='1452720'] Just to add further confusion, I have a USA L2000. In the past I've owned 2 Tributes and the USA model sounds darker and richer to me. It may be that settings that work on maple-boarded Tributes don't work so well on a rosewood-boarded USA model. Just a thought. [/quote] The tributes do sound different. A student of mine had one and A/Bing them it was clear that it didn't have the big-ness of the ASAT. The lower quality pots and switches will contribute I suppose as much as the woods. I've re-read this thread and it is confusing, especially my posts (!), but it has struck me you're boosting mids on what is already a rich sound. Perhaps scooping some of those would retain some weight but allow the treble to give you that definition?

Ok I admit it'll do loud no problem, and it bangs right into all the head room available on the markbass head I'm currently using but I've never had a problem getting it to cut through. I use a fairly flat EQ, and nearly always find myself doing that regardless of the amp, although I use a fair bit of the filter shape on the head instead, the amp sounds more comfortable removing mids that way than using heavier EQ. I use full wound strings and play fingerstyle and have used the G&L in a variety of situations, with fire breathing drummers and filthy Marshall stacks, a pub rock dep gig the other week with one guy blazing away on a Boogie, 18 piece soul band, and less challenging, in the pit for Slipper and the Rose next week in Pershore! I'd really recommend leaving it in active at least and having a decent amount of middle dialled in, but I might play differently to you. Enjoy the bass though, not everyone loves them as much as I do as they seem to be an acquired taste, but once you've got it, that's another matter!

[quote name='mcnach' timestamp='1322500653' post='1451639'] "both pickups on" is not exactly a recipe "to cut through" the mix... [/quote] Both pickups on will cut through the mix! However I have found when I use a modern amp, GB, EA and the like, bass cut takes too much away. Best to ramp all three knobs to max, bass boost on, stick it in active and to hell with anybody who gets in your way!

I've go the tube 500, and whilst they really divide opinion I'm on the plus side, although I have been disappointed by the re-sale value. Dialed right across to the solid state pre-amp you'll have something near identical to what you have and mixing in the tube brings in a lot of warmth. However, not everybody agrees so either it's my preference for a tube and a bit of pyscho-acoustics, they aren't consistent or some ears don't notice. I can't imagine having 800 watts on tap, I've run mine through 2 112s, an old Hartke 410 and an Ashdown 810 and it's never got beyond 4 on the volume. It is pretty linear as well the times I've been pratting around and experimented with how far it'll go have resulted in some serious power. Oh, and you won't get any grit from it at all, not that kind of valve.

Ringo is another drummer who plays a right handed kit despite being a left hooker. He says that's why his fills are so idiosyncratic. As to using a pick with my right, I hate it. I've learnt through playing guitar but just don't like it, but I've never attributed it to being a left hander before. I'm a reasonable finger picker and I would have thought that would be more difficult. There may well be a grateful manufacturer or two reading this thinking thank goodness all this lot do it properly or we'd have even more faff!

It would make sense that handedness is genetic as my Dad is a righty and my Mum is truly properly ambidextrous, to the point you can't tell the difference between her two sets of hand writing. I suppose that gives me odds at being one quarter left handed and writing with it and three quarters right handed and being able to play guitars that don't have a minority mark up!

[quote name='chris_b' timestamp='1321724488' post='1442472'] [size=4][color=#222222][font=Arial]Anything with a slap bass line. I don't slap, cos I can't. I can play anything given time but the brain cells that do slap seem to have been missing at birth. [/font][/color][/size] [/quote] and were replaced with good taste... Time to go.

[quote name='Big_Stu' timestamp='1321715726' post='1442337'] Duck Dunn is - Steve Cropper told me - who is also similarly "afflicted". [/quote] That's made my day- he's my all time bass hero. With regards to scissors, left hand, but right handed ones, left handed ones should be for Ned Flanders only.

Duff?! One of my absolute teenage idols! Been thinking about it some more and I'm right handed using a mouse and calculator as well...

At rehearsal last night our guitarist was flabbergasted when I started writing out some chords with my sinister hand. Seeing as he's a GP I don't know why, he must have seen much more freaky things at work but it did set me thinking. Why is a right handed guitar right handed? Am I missing anything not following my lefty-ness inclination on my main instrument and how many others are in the same boat? I know Mark Knopfler and Noel Gallagher are reported to be the same, and have seen photos of Jimi Hendrix writing lyrics with his right, who else is cross wired with their playing?

Firstly, things got so desperate I used joinmyband to get a gig. The most memorable bit was when the guitarist pointed to an old HH amp and said "Do you know who that used to belong to?" I started wracking my brains for famous HH users. He said "Fred West." I decided to opt for the last resort. Start my on band.

www.airstudios.com Seriously, ask and you never know what might happen.

[quote name='Mykesbass' timestamp='1318334318' post='1400663'] Once again I must wave a lonely little flag for Tommy Cogbill: [url="http://www.allmusic.com/artist/tommy-cogbill-p65382/credits"]http://www.allmusic....-p65382/credits[/url] [/quote] Funky Funky Broadway- A giant. Krist Novoselic of Nirvana- a giant collection of quotable lines. Johnny Colt of the Black Crowes- such a great vibe and sound on Southern Harmony.

This is great but why is it so difficult to descend? I can go up pretty easily but removing my fingers from the string following the one finger per fret model really becomes clumsy. I like to keep my fingers as close to the neck as possible but descending I can only get up to a medium pace before I start flapping round like a novice. There are several passages where a descending passage is repeated (nowhere near the open string positions coincidentally) and the first time will be ok and then the second time becomes inaccurate. Anyway, thanks for the advice and I'll keep on practicing!

I've been playing a regular gig for a theatre company and normally I just get the piano part and get told to do what I want. However this time the part was a proper orchestral double bass chart and apart from forcing me to play above the fifth fret, it's got lots of descending chromatics and I find them really really tricky. I've got another show in December with another group but it's by the same publisher and as it's much better money I want to be up to scratch. I will of course break out the metronome and blindly run up and down chromatics but does anyone have any tips to help with this? I'm very aware they're a big stretch and I don't want to end up straining my pinky so to speak. Descending chromatics haven't cropped up much in the pub rock I normally do!