Leaderboard

Over the past 10 years or so I've created around 200 charts (revised figure) for my covers band in a simple format which is easy to use for the whole band. The charts just show the chords and song structure and are particularly useful when learning new songs. Minimises disagreements about who's getting it wrong lol! Sample attached below, all songs are in this simple one page format. Too many songs in the archive to list here but suffice to say largely wedding/function band material. If free access to these charts would be of interest to anyone please drop me a pm and, if there's enough interest, I'll explore ways to make them available to download somehow. Also, if there are any particular songs you'd like charts for just let me know. I'm recently retired and have some time on my hands Chords-This Will Be.doc

I'm talking to ikay at the moment about potentially hosting these as a page on BC, indexed and with a 'requests' area. Should be useful!!

I am now a little gaseous for a Blasius

Hey! Why didn't that come out as 'Pinktorpedoos Reaper'??

Red Hot Chili Peppers - Blood Sugar Sex Magic. For me that's Flea (and the band) at their peak.

One of my students was 80 in September. He's actually out of all my students the most dedicated. We're currently doing chord melody jazz stuff. He saw me showing off a few weeks ago, and wanted to learn how to do it. He's also getting a 5 string after Christmas. You're never too old.

My acoustic short scale fretless bass. My goal was to build an acoustic that was as loud as possible without amplification. I failed. It isn't loud (enough). But I do enjoy playing it once in a while.

I think it’s because it’s missing the word ‘in’ OK enough legal chat (unless we have a lawyer onboard) - leave it with me. Thanks.

Having worked with copyright (pictures rather than music, but...) I can only agree with BRX, the whole thing is a minefield ready to trap the unwary and some sort of legitimate legal advice is the only sort worth having. MU or PRS should be able to assist.

Whenever I see it mentioned I (perhaps mistakenly) just presume they mean the preshape and that’s what I always have in mind. A slightly clipped mid cut sound. I completely agree many amps can provide this - Eden and SWR have a mid cut control, Ashdown have a very similar preshape etc etc - but for some reason the “Trace sound” is the one which sticks in mind! I’m only speaking for myself of course

Took charge of these two last night Wishbass Lobes, previously owned by @Billy Apple One's ambrosia maple and other is bloodwood. Never owned a single cut before so why not start with 2 Very thick necks on them but surprisingly comfortable. Wish basses come in a fairly raw state so some sanding and filling will get done.

I'll be 72 next May and play in two bands,a quartet that plays mostly jazz standards and a seven piece swing band that also plays a few Dixieland tunes.I average at least two gigs a month and usually two rehearsals a week in a practice room that is an hour from where I live.I also drive at least an hour to most gigs and that can be interesting in the middle of our Canadian winters.I play mostly my Yamaha SLB 200 EUB(standing up,I can't play sitting because I like to move around too much)but also my Yamaha electric bass and I play tenor banjo on some Dixie tunes while the bottom end is taken care of by a tuba player.Great fun and playing with really good players has improved my skills immensely, especially reading since some of our material is legit arrangements and the parts have to work together and the other members are great readers so I have to keep up.Band members ages are from 32 to me at 72. I intend to keep playing and learning as long as I can which I hope will be a good while yet.I played my first gig 56 years ago and I have no plans to quit, even after some angioplasty and stent work on my heart in October .I missed one rehearsal but no gigs. Keep going, it's easier with modern equipment as the OP and many others have pointed out.I still love playing gigs and in the bands I'm in a rehearsal is always a learning experience. We are so lucky to have music in our lives!

Yep, not electrocuted myself yet

woow... sometimes the easiest things are the hardest to find THANK YOU!!!

Simply go to the first post in the thread and click edit.

How did you manage that? How Did We Get So Dark was only released in June 2017 :-) Or have I lost a year somewhere?

The best DAW to use is the one that most closely matches the way you want to work, or failing that the one that majority of people you collaborate with use. Other than that they are all much of a muchness these days when it comes to features, so I'll take ease of use and ease of transferring projects between different machines over everything else. I'm a Logic user because back in the mid 90s when I bought my first computer for music, the person I was mostly collaborating with, was also a Logic user and that meant it was simple to exchange song ideas. Left to my own devices I'd have probably chosen Studio Vision, because of all the DAWs I'd seen this was the one that most closely matched the way I'd like to work. Luckily I didn't because within a couple of years it was dead following Opcode's acquisition by Gibson - a similar fate that has recently befallen Cakewalk. TBH once you've got used to how a particular DAW works its becomes easier to use, and you are going to be reluctant to change hence... And that for me is the next most important thing when it comes to picking a DAW. How long is it likely to be around. Logic is pretty safe because it is one of Apple's core Pro Applications, as for the others it very much depends on the whims of their parent companies. The future for ProTools has been looking particularly dodgy for the last couple of years with Avid's on-going problems. Plus their reliance on the less than brilliant iLok copy protection. And that brings the last key feature - copy protection. Reaper doesn't need it because it's essentially free and if you are going to pay for it, then it is stupidly cheap. Logic is also relatively cheap (certainly these days the full version cost less than the price an upgrade used to) and is tied to your App store account so it doesn't really need anything more than that. Personally I'd be suspicious of anything requiring an iLok to function. Whilst the idea is excellent the implementation is less than brilliant, and if there is a problem with iLok it can render all your iLok protected software useless, as has happen several times in the past few years to large numbers of their user base.

Unfortunately that's not going to happen with an acoustic bass guitar unless the only person you want to entertain is yourself.

under $300 Street,looking very good!

I feel very lucky because as I have got older, gear has got smaller and immeasurably lighter. If I still had to lug around my old Trace stack I think I'd be fit for the knackers yard by now, but I have no problems with the new lightweight stuff. I'm 14 years older than the next oldest in my band and 24 years older than the youngest and they all seem to find it more tiring than I do. I want to keep going for as long as I can. The drummer in one of my previous bands now suffers from Parkinsons and he would give anything to have a nother chance. This isn't a rehearsal - it's the real gig.

If I put a quid in the swear box can I rant about Logic foibles verses Reaper? If I set channel 5 to record in Reaper, it will record on that channel, no matter which other is in focus. So WhyTF does Logic insist on recording on whatever channel you have in focus, even if it isn't specifically armed? That makes no sense. In Logic you absolutely can not set separate two channels to record off the same hardware input. That makes no sense. Reaper again sets no such limitations. I could go on lol I do really like Logic, I use it a lot, but it is SO annoying at times!

Wrong website again, I think. *Hides in shed and attaches car battery to nipples with jump leads* Ow! Oww! Ow! Ooh, yeah.

I loved the JJ Burnel sound, and his bass on the Stranglers first album "Rattus Norvegicus" was what first made me listen to the bass guitar So that's my contribution - not necessarily my fave album these days, but it's what got me into bass

Led Zep one was pretty transformational in terms of how bass guitar was recorded and mixed. Led ZepTwo followed it's lead and picked up where it left off.

Welcome....never to old to start releasing your creativity...

Its only a tiny amount that they’re lower, but it was just enough for what I needed.

lol, top man

Here's my dogs. Ben is our old gentleman Lab who we got as a rescue just before his 8th birthday and is now coming up to his 13th. It was 5 years ago last week that we got him. He has a Dentastix in his gob in that photo - he doesn't just have the biggest doggy grin. My wife is now on the board at the rescue home we got him from. Posie is our Cocker Spaniel who we've had since a puppy. She's almost 8 years old now but still as manic as a puppy - but sharp as a tack. Nothing gets past her, not even my cack handed upholstery techniques.

Good afternoon, Oomworthy, and ... Plenty to read and amuse you here, and lots to learn and share.

Thin speaker cables are far better. Instrument cables are fatter cables because of the insulation and shielding for noise, all of which are irrelevant for speakers, the conductors in and instrument cable are very fine for flexibility and not designed to take any power. Speaker cables are just a lot of copper and a very small amount of insulation

For the OP: The key thing in "jazz chords" is that they extend the harmony beyond root + third + fifth... at the most basic adding the seventh. In major keys this will give you maj7 on the I and IV, dominant 7 on the V, m7 on the ii, iii and vi and m7b5 on the vii. So in C major, you have Cmaj7, Fmaj7, G7, Dm7, Em7, Am7 and Bm7b5. Voicings I use depend on the situation, but with no other context it'll usually be root on the 6th or 5th string: Cmaj7: 8 x 9 9 8 x or x 3 5 4 5 x G7: 3 x 3 4 3 x or x 10 9 10 8 x Am7: 5 x 5 5 5 x or x 12 10 12 13 x or x 12 14 12 13 x Bm7b5: 7 x 7 7 6 x or x 2 3 2 3 x I frequently swap the maj7 with a 6 or a 6/9 and the m7 with a m6 Fun comes with the dominant 7 chord... you can do all sorts to it... add 9ths, 11ths and 13ths, swap it with a tritone substitution, using C#7 instead of G7, add b5s,#5s (drop the natural 5), #9s, b9s... This all helps to make a "jazz sound" but it won't sound like jazz unless you're using them in the right context (which involves learning songs).

I have a BS40, too. And I love it! What a great little amp. I put it in a custom tweed case to match my tweed 1x12" cabs.

I tend to agree with Sean. At £700 and local collection it might go, but TBH £900 is pushing it even if seller would courier, IMO.

I really like that. What is it?

Welcome to the site

Nah, that would have to be an Uber Art Recurve 5! Congrats to Alan for the Award, hope lots more people find his stuff.

Mate, bands spent decades touring the world with 300 watt SVT's running 810 cabs connected with 1/4" jacks. Speakons might be the better option of the two but when speakons were invented it didn't instantly make 1/4" jacks bad or dangerous to use. For your application and many other bass players 1/4" jacks are just as good.

Never realised this topic was going to be such a hot potato Anyway, ordered a speakon to quarter cable from OBBM and it arrived in next to no time and top quality as always. Can thoroughly recommend him to anyone. Just to throw the cat amongst the pigeons though I was reading through the quick start guide that came with my Ampeg PF-500 and here's a curious thing for you. The Ampeg has both a speakon and a quarter jack input on it. In the hook up diagrams they recommend the standard set up should be speakon to speakon and also daisy-chaining using speakon as well. But they also show the possibility of a parallel setup with speakon to speakon connecting the first cab and quarter jack to quarter jack connecting the second cab. Now I'm guessing that with two cabs connected they feel the load to the second cab will be low enough to get away with quarter jack connections but surely if it is such a no-no Ampeg should have put two speakons on the amp instead of a speakon and a quarter?

I found Reaper not too hard to learn, comes in at about £60.

You need to look for effects cases... they are typically around 35 cm deep. Perfect for what you want. So... http://www.flightcasewarehouse.co.uk/manufacturer/product.asp?item=spider-3u-rackmount-flight-case-360mm-deep-5793-6631 Is a contender for starters. https://www.thomann.de/gb/thon_rack_3he_economy_ii.htm is another... The gator is a good call also - although strictly speaking, it's 1 cm too short, so the amp will overhang a gnats ck when the back door is off.

OK good, moving on. Like the finish on the ACG - really unusual. Congrats to Alan

Here... GK MB500Fusion GK 115 & 210 dba compressor On the left: Echolette BS40 2 x Traynor 15” I have not yet played the valve amp in anger or both combined, but I would bet that it rocks. Hard.

Here's Silverfish at the Falcon, 1989 or 1990 maybe. I'm in this photo too, aged 17. Loved this era.

*cough* 😉🙂🤘

I've really enjoyed this thread, it's made me feel better about my unscrupulous money making shenanigans... My most recent; I bought a bass earlier this year for a tour that didn't happen... played a few rehearsals and one gig... then listed it on Ebay for more than I bought it for, cuz I love the cash. Just to make the story even more perfect, it sold back to the original seller, for more than he sold it to me. To his credit, he didn't complain once, he just accepted that it was now mine and I could charge what I liked... and ultimately he's just happy to have the chance to buy it back and hopefully won't make the same mistake of letting it go again