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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.

That's correct. A single 12cm diameter round port is usually sufficient for a 15 inch driver. Split into four 6cm ports you might get some chuffing. The added area of four 10cm ports prevents it.

They probably don't even draw their full rated current even when they're on. Chances are you'll be fine.

Sounds like every Canadian I've ever met, so it must be true!

Yes... Great stuff. I've just read through the whole posting and would definitely be up to try making a pair of the Mk II's. Thanks so much for all the ground-work you guys have done!

It all depends upon how good your IEMs are to how much you'll appreciate the performance. If you get it right, you'll wonder why you ever bothered with a rig. If you are reliant on monitors then you'll want to ensure that they are good ones... (which invariably they aren't and will fart out at the faintest sniff of bass). I personally like the sound of a DI, but you may want some means of EQing the sound to your ear independent of front of house, as you may find the DI signal a bit thin in your ears if you want to experience the full bloom that you would normally get with a bass rig. There's loads of discussion about this in the big IEM thread in the Accessories section of this site... and the FRFR thread brings it up a few times.

Lol 😁 So I used this at Monday's rehearsal through a very well hammered old Ampeg SVT410HLF & it still sounded awesome. It's punchy as hell too although as I discovered if I blend too far towards full on distortion I loose all of the bottom end. I just need to use it more & get used to how everything works together to get the best from it,but so far I am very impressed with it,can't wait to hear it through some decent speakers.

Have I accidentally joined TB?

I think anyone who has the stamina to play 4 hour sets several times a week, every week to appreciative audiences deserves massive respect from fellow musicians. You certainly have mine.

Auditions can be sad. The saddest is when you don't do your homework and audition for a band that's not a match. How many of you have showed up to an audition, professional, confident you know the material inside out and find the other band members are weak and playing at a lower level than you. Bad interpretation of the material, questionnable chords and notes, poor vocals. Blue

Hey Brian - welcome to Basschat! What you've asked should be very do-able. You can save effects in banks of three and then just use the metal stomp switches (marked FS1, FS2 and FS3) to select which effect patch you're wanting to use at a particular time. You use the floppy paddles in the middle then to scroll up (or the left one to scroll down) to the next bank of three. If you're still getting stuck PM me and we can maybe run through it via a phone call and I can talk you through.

Nah thanks. I've had my share of 100lb amps. My back loves my 4lb Shuttle and so do I

He’s doing it for a reason, don’t blame him for what he’s doing. Something has to be done. Can you think of anything better?

I've seen a lot of drummers who want to put the kick drum through the PA, so it's not a surprise to see this. I think this is the drummer's equivalent of the guitarist who is massively loud but insisting that he needs to turn up because his cab is pointed at his ankles and he doesn't understand physics: the drummer can hear all of his other drums perfectly loudly because they are all facing his head, but the bass drum is projecting forwards, so he can't hear it as well and thinks it must therefore be far too quiet because he lacks the intellect and imagination to consider that people out front may be able to hear him perfectly well. The band I've just started playing with have a novel solution to this issue. The drummer has an acoustic kit with the exception of the bass drum which is a small electronic pad, which goes through the PA. This works brilliantly as he gets to hear it in the mix without deafening the rest of us with the actual bass drum volume out front.

You really don't need a wedge. A thin strip of material will do the job across the neck pocket at the heel end. There is of course a huge thread on TalkBass about the merits or otherwise of leaving a (God forbid) GAP under the pocket end of the neck, but in my experience it really makes no difference to tone or sustain. Assuming you had any tone or sustain in the first place. Need a more extreme angle? Stick another bit of playing card in there. It works. There are those who claim to be able to tell if a neck is shimmed, what it's shimmed with and if there's a (gasp) GAP under the heel end, but I put those people in a box along with those new-age types who claim to be able to tell the difference between different types (and prices) of mains cables by the SOUND, can tell how much an effects pedal battery is DRAINED (sounds different!) or can tell how OLD pickups are by the perceived level of MAGNESTISM they have - or don't have. It's all a great big steaming pile of DUNG.

You’re not being told that size doesn’t matter, you’re being told that there isn’t a link between size and frequency response.

Σταθερό, ώστε να αντιστοιχούν με το avatar σας Nobody going to jump in with "It's all Greek to me"??

@charic you might like this 👍🏼

I've more often than not joined bands that were of a better standard than myself. The best and quickest way to improve IMO is by playing with people that are a step above you.