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Just my tuppence worth... Don't forget to do an impressive slap solo at some point.. before, during & after the song. Bands love that. Talk about the gear you've brought ..in detail. Not forgetting to mention all the gear you've owned over the years. Bands love that. Name drop (even if it's the most tenuous of links). Bands love that. Ask the guitarist(s) why they're not playing a strat/paul/sg (delete as appropriate). Guitarists love that. Helpfully mention the singer's a bit "pitchy". They love that. Tell the band leader (on the quiet obviously, you're not insensitive) that you've got a drummer mate who you've played with for years, and he/she is easier to "lock in with". You're smashing it at this point, they'll love you. You're welcome. Sent from my bedroom. Don't forget to come & see slappys' one man band.... 🤠

The penny has just dropped (thanks to Google) that I used to work with Bruce Woolley's nephew. He used to tell me about his uncle who was a songwriter, and had some amazing stories - mostly from the Grace Jones years. the best one was being woken up by Ms Jones in the wee small hours, demanding that she should have his hotel room because she'd set fire to hers and couldn't sleep in it any more

Breaking my golden rule of *if someone uses the word 'snowflake' in any conversation they are probably talking out of their behind*, surely these 'snowflakes' you a referring to are more likely to be boycotting Chinese and Indian steel (and the US, also one of the big polluters, but probably too expensive to matter) as ethics would matter. It would be the opposites of snowflakes, which I don't know what that is, I guess gammons if we are reducing everything down to childlike terms that will be buying the stuff that is the cheapest and less ethical? And I would say that the reason for getting rid of pollution in a city is not just to make the world a better place (and personally I am not sure that the 40th biggest city removing pollution is actually a bad thing) but to make that city a better place?

How bizarre - I just listened to them both and reached exactly the opposite conclusion! On the Woolley version, that guitar sound and the signature lick he plays at the end of each phrase are totally late 70s ... that sound and that lick were everywhere in the music of the time, and to me that version sounds really dated. On t'other hand, the Buggles version was uber-modern in 1979 partly because there was no guitar at all, and it still sounds strong today.

SNOOZE ALERT! If you don't like long winded posts, just pass this one by. Never lose sleep from anxiety over an audition, unless it's with Sir Paul McCartney... I think I've had a night terror like that... He said to leave the stage in front of 10,000 screaming people who suddenly went quiet as I trundled off... Then, realising that I had forgot my bass, I had to go back out again to get it... You could hear a pin drop... and then he took over the bass and everyone went wild. If you don't get picked, then you're both not on the same page or they have someone better in mind - and you're lucky to find out sooner than later. Besides, if you show up as a nervous wreck, you'll never pass muster anyway. Look at it as a jam session, except you know the song. If you're unsure with the song then you are not technically ready for that band or you hate the song on some level. This is a great time to mention the Tascam CD-BT2 Bass Trainer (play-along CD player). It makes you sound like you're the BP in the mix. I'm sure there are even greater things sold as computer software, but it's the greatest prep for auditions (or rehearsals). Everyone's on the same page before rehearsal. An old friend of mine, a drummer and a Limey, would show up at an audition and just before they started, he would say to them, "OK, boys... Show me what you got!" Now, that's the right stuff for an auditionee. You ARE auditioning that band every bit as much as they are auditioning you. You can phone them back later, just like they phone you, and tell them "Thanks, but no thanks!". Did you exchange pertinent information before all that packing and driving? Did you tell them that you were a BP? On Bass guitar or double bass? Four or five string? Fretted or Fretless? Pizzicato or plectrum? That you have YOUR OWN transporation or not? Do they? That you FULLY OWN excellent gear? Speaker size 8x10 or 1x10? 40W or 300W? Combo or Piggyback? What about their equipment quality? Yours and their locations? Discuss travel time/mileage? Rehearsal studio rental costs? That you are seeking an established or a start-up band? Covers or Originals or both? Improvisation required or not allowed? Dance Band, Pub Band, Function Band, Jam Band, Bar Band? Local gigs? Touring? Charity gigs? Just for fun? Yours and their repertoire list, musical interests and goals? Age range/limits, if any? Gender stipulations? Musical styles/genres? Are they looking for Rocco Prestia or John McVie? Or Carol Kaye? Sixties Soul, Disco, Jazz, Blues R&B, Ballads, Boogaloo, Funk, Gospel Texas, New Orleans or Chicago styles Jump Blues, 50's R&R, Doo-Wop Classic Rock, British Invasion, New Wave, Punk Beatles to AC/DC... Traditional Country, New Country, Country Rock, Southern Rock, Rockabilly, Cajun Reggae, Ska, Rock Steady, Calypso, Soca and Steel Pan Big Band Era, Popular vocal music, Ballroom music, Swing, Dixieland Waltzes, Polkas, Latin dance rhythms Some possible discussion points: Set-list (sequence, title, artist, band singer's key), Line-up (current and desired), Rehearsals (schedule, location, cost), Performance intentions (frequency, audience, venues, area, local/touring), Age range, if any. Experience has shown me that, for my own self-preservation and peace of mind, I need to avoid certain situations, and you should, too. Find out this stuff. Multiple-project band-hoppers Bands that can't seem to hold-on to a bass player Bands that keep their old bass player lurking about Bands desperate for a temp bass player that lead you into believing that you're permanent Bands with debts, covert overhead costs or requiring signatures Manipulative personalities, phonies, weasels, sneaks, liars and cons Bands that change out members for friends when they gain some success Unequal distribution of compensation Weaseling-in of friends/family into the band Weaseling-in of friends/family into position to run band operations, so that they can actually run it Bass line micro-managers, critics and advisors Musicians who bought a bass as a second instrument and now think that they are a bass player, too Self-appointed band-leaders with minute talent, no draw, no studio, no gigs and no charts Self-induced virtuosos or anyone that would refer to themselves as a "pro" without laughing Songwriters trolling for employees, or even worse, volunteers Originals and other anti-dance music. Also, petty re-arranging of hit songs, so the band leader can justify position Band-room potheads or intoxicated zombies. Maybe both. Band-room smoochers, relatives, cults and Fraternites Politicos Bands cashing in on tributes to the recently departed... We should make a useful checklist for ourselves and not say yea! until all items have been investigated. I'd be very interested to garner info from other BP's on Bass Chat...

This is the new 2018 mix of While My Guitar Gently weeps. I must say, Eric Claptons lead guitar overdub sounds much more clearer. While for the first time in many years, Maccas double stops on the bass (6string?) finally are audible. Opinions from Beatles fans?

To my eyes the Bugera bears more of a similarity to one of these than the Streamliner.

Not sure I've seen a BBOT bridge in such agony before.

I've played this song a couple of times at an annual private garden party with Bruce Woolley on the vocals..... always fun Having just listened to his original version I must say I much prefer it too!

If you intend to continue as you are...i.e. playing in a pub rock trio, then IMO you won't have much use for modes. I suggest that instead, you concentrate on CHORD TONES. These are what most bassists play 90% of the time...not modes. 😉 The link below is an excellent site for learning some basic theory. Go to the study guide and start where you think is appropriate for you. In the link, the site emphases the importance of chord tones. https://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/

How about this very simple solution: 1. ban everything that isn’t electric: lorries, cars, cabs and public transport etc 2. introduce rent control 3. ban empty foreign owned ‘investment’ homes 4. carry on cycling 5. introduce flexible work hours 5 simple steps - would fix most of London’s issues in under 5 years. Will it happen? Will it fük..

For me it's the best bass they have buildt. It's miles ahead from the current TRB100xJ and TRBX. Eben the BB's aren't at par with this, it was top of the line before being descontinued. Why Yamaha did it without bringing in the TRBIII i'll never understand. Got it here for a steal price of £900 about 10 years ago. He's the reason i joined BC in the first place and never left. It's been my #1 bass since, it's the ONE, it has "my tone" completely flat and straight to a flat mixer if needed, the balance knob and right hand position give me all the tones i can possibly dream of. It will NEVER EVER EVER leave my hands, will be passed on to my offspring with joy when i retire from playing. Mine has the Ovangkol top, i've tried the Maple and Bubinga ones (the bubinga belonged to Nick Fyffe and belongs to a friend now), i found the Maple too trebly and the Bubing too dark, may have been the strings but i found this one is more balanced to my playing style. More pics, next to the ex-fyffe's:

Well, next time you can point me to the next great deal for a used BBNE2. Al needs to rest for a while... Now for some gratuitous pics: The NE would fit nicely in the collection

No need to apologise, Pea. 😛

I loved living in London - moved up when I was a teenager, and still work here, commuting in from Surrey. As well as my job, 99% of my social life is here, the band I'm rehearsing with in here, I love the place. But traffic and pollution is a nightmare, and adding these charges is a blunt but apparently effective instrument, as we can see from the debate. Nobody who will have to pay the fee is at all pleased about it - which is exactly the point!

Most people over here prefer a live band at their wedding if they can afford it. Typically bar bands will make anything from £200 to £500 and then moving into larger venues or clubs you are up to the £1k upwards and as you get more noticed on the circuit you can slowly increase your rates. We have been offered £1k for our first gig even tho the venue has only heard a few rehearsal recordings taken on a phone plus they know the singer from his other band. With regards your checklist i recognise most of the things you mention on it and my current band all sat down at first meet in a coffee shop to discuss basically what you had on your list. Mainly everyone's idea or expectation of what they wanted from this band (Glam Rock covers band) other commitments with their other bands all booked a year in advance and everyone accepted the band was more a side project to fit in around other commitments. We discussed the set and songs possible with only gtr, bass, drms and Vox. We did discuss possibility of a 2nd guitarist or kys but would wait until we had a few rehearsals under the belt to see how we sounded. Eventually we had the opportunity of a kys player with similar attitude that singer new from other bands. We each took a list of songs we thought would work as a 4 piece and the main point was that we all got along on a more social level hence the coffee shop meet. It al went really well altho the other commitments has meant slow progress on the rehearsal front. The guys that play in other bands have now realised that this band could potentially make some good money as well as having lots of fun and are now leaning towards this band being their priority band. We have been offered good money for our first gig which will be a in the New Year due to delays in rehearsals but we all knew that from the first meet that it would be an issue. Altho you post is long i did read all of it and it makes a lot of sense. As you say we really should make up a checklist for any audition. Dave

He did it to me as well!! @CameronJis actually pretty evil or on some sort of commission 😂 I ended up with this 'cos of him: And he actually literally frogmarched me to the store to buy this one: 😂

Normally neither do I I thought a quick tweak wouldn’t matter and would be quite fine. Mind you, I tried that with Mrs B and got a slap for that too

There isn't a bass on earth worth buying over 1500 quid. I really believe that. Music, soul, love, groove, is created by the fingers and the heart of the player. It's ace to have a lovely quality bass (or any instrument), something well made, that feels great, looks great and sounds great. But to me, you can achieve nirvana on an Ibanez, a Mexican P bass, Yamaha.... or a used Stingray, Lakland.... whatever, etc etc.... I just can't believe that in the hands of 90 percent of us, anything more than that is required. The chosen few, I guess, can afford a Fodera or similar... but honestly... why? Especially when Vinny can't come up with a better headstock.... There's WAY too much emphasis on expensive gear. Amps included. Treat yourself to a Peavey TNT 1x15 off eBay and kick some donkey..... Anyway... I expect I'll get shot down for that. Back to headstocks....

I’m personally of the opinion that we're too reliant on cars. What London is doing is ultimately good, Birmingham are introducing charging in the near future too. I’d rather not breath air that’s polluted by car and lorry exhaust fumes. If you play in a band and absolutely need to drive to a gig to carry your equipment then car share, organise amongst yourselves so you’re travelling in the minimum number of vehicles. I’m no doubt going to get a lot of dislikes for this, but we simply can’t carry on as we are, gridlocked roads and pollution, it’s unsustainable.

Cheered me up tho

Well that was a complete waste of invective.

Doesn't work when you're playing in pubs and have to carry the PA, the lights, etc. as well as your own rig.

I would imagine more and smaller ports maintain the integrity, the rigidity, of the panel.

As long as there are people who think they can hear the difference between battery brands the boutique pedal market will remain safe.

I believe they’re keeping the 7.25 radius and gloss finish on the Vintage V7 necks, so there’s still something for everyone in the new range.

I have a Harley Benton HBW80 and was asked to turn it down at the recent gig i did! So, er. Don't know. It might have just been my playing though...

Euro 6 only applies to new cars produced after 1st September 2015. Older cars would have had to satisfy whatever regulation was around at the time.

Popped into Wunjos to do a bass trade today, courtesy of Tom (manager) who is a great guy. They've got a dedicated Darkglass bass pedal shelf (with Ampeg SCR which provides a really useful size comparison). What slightly blew me away was just how compact the AO Ultra is!

I may have, but I'm not home until Saturday morning.

London's air pollution is exactly that; London's. Move 30 miles away from the centre and it isn't as bad. Where I'm sat now in Sutton Coldfield isn't as bad as 8 miles up the road in Birmingham city centre where they're also introducing a charging scheme. It's an effort to improve that, London breached the pollution limit one month into the new year.

I’m not playing poker with you then 😀

I tend to have the blend set at around 50:50 clean with the dirt engaged, which seems to work well. Oh yes...I should have mentioned that the 3 band EQ on my Ibby SR Premium is really effective and just a small increase or decrease on the bass dial brings up or cuts the bass, as required; the bass EQ on the amp then becomes more of a fine tuning for me.

Thank you! Edit to say - read the whole thread - wow, quite an event - I was away the time this came up so missed it live, but a great read! And getting to replace Mr Horn for the bass bit - sweet

It doesn't really work that way round. The pedals are the same as if you have effects pedals, so you have an effect per pedal. So if you have effect A and effect B on, you can't switch effect C on to cancel the other two, you would need to switch A and B off. So make the clean sound you want, and then turn the other effects on when you don't want them

Actually, his hair looks nice in a bun.

This may come as a shock to some people, but not everyone lives in a large city. Some of us live in small villages with next to no public transport. My obese chelsea tractor might be out of place in a London street, but is quite handy when the rivers round here flood, which they do with some regularity - I live where the Windrush meets the Thames, and when we get heavy rain there is often a foot or two of water to drive through just to get to the end of the road. I have played gigs in marquees on fields thick with mud - 4 wheel drive can come in handy sometimes!

Absolutely, there are far more important things at stake here.

A few notes: Sealed enclosures have better transient response Transient response is a primarily a factor in the higher frequencies, where the cabinet alignment has no effect. A very poorly designed ported enclosure can have poor transient response in the mid bass, but being very poorly designed it will have other problems as well. A well designed ported enclosure will not have any transient response issues. This is one reason why they sound punchier and more accurate. In blind testing with the systems EQ'd for identical response listeners are unable to identify ported versus sealed cabs. There is no difference in accuracy so long as the speakers are not played at a high enough level for there to be high level harmonic distortion. 'Punch', by and large is the term applied to the sound of a speaker being pushed past its linear excursion limits, resulting in high level harmonic distortion. High THD isn't more accurate, it's less accurate, and it's far easier to realize with a sealed cab than ported. It's also neither inherently good nor bad where amplified instruments are concerned, being a matter of taste. If you have a ported cab and want to get it to sound like sealed that's easy enough, turn the bass EQ down. If you have a sealed cab and want it to sound like ported turn the bass EQ up. The ported cab with lower bass EQ still won't have the THD of sealed, and the sealed cab with bass EQ boosted still won't have the low end output capability of ported, but that's why you can still buy both types. There are some disadvantages to ported enclosures. Transient response is poor compared to a sealed enclosure. The result is decreased accuracy. If ported enclosures had less accuracy than sealed then the vast majority of high end speakers, as in over $10K each, would be sealed. They're not. For that matter the vast majority of speakers are ported, irrespective of the price range. A poorly designed ported enclosure can cause all sorts of problems. That's true, but since the advent of speaker modeling software back in the 1990s there's no excuse for a ported enclosure to be poorly designed, other than the designers lack of knowledge. There is one instance where by and large a sealed enclosure is preferable to ported, that being a mid bass speaker specifically intended for use with a subwoofer. When a speaker isn't going to be used below 80 to 100Hz in most cases sealed will work just as well as ported, so there's no good reason to incur the added design complexity, cost and physical size of a ported enclosure.

Well done! Liked & Subscribed. Especially the part about using the plectrum on it's side. I play fingerstyle but also plectrum style for the tonal variations possible. What do think of Ladi Geisler who played with Bert Kaempfert's Orchestra? Knackbass! And Carol Kaye on Good Vibrations?

Cheers, thanks for sharing.

Hi Hugh I cannot think of anything at the moment but please feel free to make a video if you have any ideas....like us all I tend to pinch ideas or try learn something that grabs my attention...if I see a clip or im listening to something I tend to try give it a go....but thankyou for your offer I will leave it in your capable hands, cheers Bob.

A tutor that won't teach you on a stick bass isn't a teacher you need teaching you anything imo. Yes you'll have some things that are different and it's a physical instrument anyway, left hand technique and right hand plucking are what I'd concentrate on first.

I've just taken delivery of a BQ500. Tested it briefly in the garage (just to make sure everything's working) and it's chuffin' loud compared to my Hartke HA3500. Will keep you all updated to the finer nuances of sound quality after a rehearsal. In the garage it rattled everything :p The aux in sound wasn't great, although I'm putting a lot of that down to a 410 cab not being designed to play music from an iphone. The knobs on the front do not alter the aux-in sound, only the bass guitar.

The current mrs discreet is delighted when I'm rehearsing or gigging, because she can then watch all the terrible crap she's recorded on TV. Occasionally she'll come to a gig, but she tends to drink too much then stand at the back and shout 'Fùck Off!!' Which can cause friction later...

Hi, I am new to this forum but have only just came across it when I was searching the name Fenix. I have collected these guitars for years and now have quite a sizeable collection including a couple of Basses. First, the serial numbers. Just forget them, they have never ever made any sense whatsoever. The only thing you can rely on is if you come across squire etc with the serial number beginning with the letter E then it was made in the Young Chang factory. Second, the black designs on your guitars are put on by owners and were never a factory option. Third. Headstock shapes. There was never ever a law suit, The Young Chang company thought better of it and changed the shape of the head stock. The original same shape as Fender lasted from 1989 untill 1991/2 Your shape headstock is generaly thought to be a sort of stop gap between the original Fender shape and the later scolloped headstock which they ended up with. That would make your bass dated around 1993/4. You will also notice the Fenix legend changes along with the headstocks this was also dont to placate Mr Fender. They are all great guitars and are the equal of the originals. Some say the pickups are poor but i have never had to change any and they have all performed well in a live or studio environment. Hope this helps. Oldbluser.