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When I went to the Yolanda Charles bass clinic a few weeks ago she played the pre-recorded vocal track that she and the live orchestra had to follow when she toured with Hans Zimmerman. it had variable tempo because the singer performed live to the movie - the click was just constantly varying and it was incredible to think how anyone could follow it. Yolanda and her guitarist demonstrated how they had to speed up and slow down from somewhere around 60 bpm to about 140 over just a couple of bars... in perfect sync with the orchestra and the pre-record. Honestly. It was one helluva feat of musicanship from those two and I grew another level of respect for pro musicians who do that kind of thing.

Etsy UK. Looks like plenty of choice, vintage and repro.

Sorry, can any of our drummers on here explain the difficulty as I have never encountered a drummer who has thought this was a problem?

Slip Slidin’ Away - Paul Simon

Just to be clear, I wasn't making any judgement on the use of backing tracks. I've played many, many shows with either a drum machine or sequencer as that was a distinct part of the music. I'd never want to mime though - if I'm not playing a particular part then I simply won't pretend to.

Yes - it came out well...and sounded great! It was your 5er Sterling with the Aguilar P added. Very enjoyable project and satisfying result : If you are tempted, @fretmeister, I would say 'Go For It!'

That awful bridge still offends my eyes. For the extra few bucks why can't they put the nicer, smaller Sterling bridge on it (Rhetorical). Sounds nice though....

I drove 550 miles to Preston and back to pick up a Wal Mk 1 . Bloody long day but no regrets!! X 😊

That's a lovely looking thing. I think I want my MM pickup more in the traditional place.

About 200 miles each way is the most I've gone for the sole purpose of buying a bass.

Theres more to it than that. Granted, there will be mimes - but when you get to larger productions, where there is a hell of a lot of effort put into polishing the audio, click is vital for things like time based effects (e.g. delays). Theres simply too much going on for sound engineers to be tapping tempos or trying to get players to control their onstage effects to be in sync to an ever changing tempo. Solution = click, and midi timecode. Lets not also forget, for large scale events, you'll need a click for automations on the light show. Cues is no biggie - why wouldn't you prerecord the cues if you are running to a pre-arranged show? It's making the MDs life a bit easier on the talk back mic. I know Rick Beato talked about changing up shows - all possible if you mark your loop zones in the arrangements. Like everything, it's all in the prep. And thats why the best stadium shows are complete mammoth works of art.

Just joined this club after a cash for Streamer exchange with @40hz at a service station off the M4 on Saturday! Just realised my 30 year dream of a Warwick into a Trace Stack, although have to wait a couple weeks before testing it in anger!

Yes depending on the band leader and the genre it can happen. As mentioned previously I used random modes just as an example of what can happen. The band leader knew I understood what he was communicating so that might have been it.

That's the thing isn't it - between the PA operator having the volume knob and, well, the guitarist being a nob with their 100W amp 🙂! Of course as a bass player I've never ignored the instruction to turn my amp down (or turned it up again after they got too far away)! I do get the sound/PA and practicality argument for IEMs/modellers, I just miss the aesthetic of amps on a stage!

Hullo! That sort of thing def goes on (who doesn't love nerding out over gear and a cuppa?) and I'm sure a Warwick fan will be along to help out sooner or later. It might be worth asking, or linking to this thread in the Warwick thread over in the gear gallery..... Good luck!

I am currently working with a lead guitarist who uses modes,he's not "obsessed" with them however. I picked random modes just to illustrate my point so substitute Locrian with any of the others. Knowing modes has helped me in scenarios where I'm asked to improvise over changes and it's helped to steer me towards notes that nearly always sound contextually correct. Only sharing my limited practical experience of them.

Nice idea. You could call it Feck 🤣

Slide - Slave

Over the past few rehearsals and gigs, ive noticed my drummer's snare wires are vibrating over most of the intros where he doesn't play, but me or the bass player start the song, and over one where he uses rim shot most of the time. I know there is a lever to mute/pull these back. I asked him at the gig on Sat about one song and he said it was tricky doing this. I appreciate it can be, but isn't it something he should be doing anyway? I think it sounds very unprofessional having extra noise's over intros. Im the only one that has brought this up. Am I being unreasonable telling him to get this sorted?

Slippery When Wet - Commodores