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There are only two bass players in my entire country. No wonder people here think I'm good. Most of them have never heard one. 😆

There seems to be a pervasive belief that learning to read music robs you of any musicality and turns you into a note-reading robot who has no other skills and no 'feel' for the music (ditto for learning music theory). Here's the thing: there are plenty of awful musicians out there churning out awful interpretations of the dots, but I'm willing to bet there's an even greater number of people who can't read that are out there butchering the classics. Correlation is not causation. Reading music is not a guarantee of good musicianship, but it does encourage certain skills that TAB doesn't (namely fretboard knowledge and rhythmic awareness). If you don't want to read because it holds no value for you then don't, it's as simple as that. Plenty of people out there parrot the tired 'music is a language' analogy but then aren't willing to put the effort in to actually learn the language. And yes, learning to read once you can already play is a massive pain (it certainly was for me!), but that doesn't mean that you should avoid it if you're interested in becoming an independent and musically aware bassist.

A comment on the "if you read music then you not using emotions or expression" etc. BTW I can't read music, so I've no vested interest. I read an article in a musician magazine (may have been One-Two-Testing or something) and there was a comment: "Classical musicians use their emotions to express the music, and rock musicians use music to express their emotions". Or something like that!

Flush - Queen

Well, the record finally shipped! It had reached a point where Jeff had stopped promising the release it by a certain date. Evidently, things needed a last minute polish and other things had to be taken care of. Even, it hasn't been plain sailing as the first batch of CD's ordered were sold out right away and the second delivery was delayed, but they're now back in stock. I had written a short review earlier to post to Talkbass, I'll just copy it direct here... "In any event, I had wanted to make a separate post for a proper review of 'Jack Songs'. I will try to keep it relatively brief in a sense because there is an element of surprise to be had which will probably cause a good degree of delight for the listener. I will try to inform on some of the background of the record without giving too much away about what you will actually hear. My own journey with this record goes on nearly as long as it has been in production. In about 2013 I gave up playing bass for a short while and started playing guitar. I came back to the bass in late 2015 or early 2016. I can't quite recall how or why, but when I came back to playing bass I suddenly felt a very strong desire to just listen to loads of Jeff Berlin recordings, particularly his later works with Danny Gottlieb and Richard Drexler, ones that I hadn't paid as much attention to as his earlier works. I went to check out what Jeff was working on at the time and noted that he was running a 'Gofundme' campaign to raise funds for his Jack Bruce record. That was actually the first time that Jeff and I spoke, when I noted that I'd be interested in the project but I wasn't sure it was for me. I was huge fan of Jeff's work but wasn't so keen on Jack Bruce's music. Honest to a fault, Jeff told me that I might be better saving my money if I didn't think it would be to my taste. I ended the conversation by saying that I would back the project because I believed in Jeff's ability and vision and his promise that the record would be his interpretation rather than straight covers. I have followed the project since that point and I am overjoyed that the record is now available to listen to. The recording process has been well-chronicled online and I have no doubt that the investment of time, money and plain hard work from Jeff has been immense. Before you listen to a single note of this record, take a moment to appreciate the effort that Jeff has put in to deliver this result. Wild arrangements, an incredible guest list, lush recordings and brilliant playing all await within. It has been a struggle, a labour of love and dedication, to see this record here now. Those who have followed the process since it's inception will recall moments of disaster like Pledgemusic collapsing along with the ever-encouraging enthusiasm that Jeff had for doing this. It is safe to say that if Jeff hadn't driven the project forward at every step it would surely have collapsed at some hurdle long ago. The endeavour of making your own record these days, as a small artist with big ambitions and a vision for something more than just radio-friendly computer pop, cannot be overstated. The tracks on 'Jack Songs' lean more towards Bruce's solo work, a smart move you might conclude, because he was the harmonic engine of Cream. Though most people will know him best for being part of Cream, his solo work was more adventurous and musical. Jeff previously did a very entertaining cover of 'Crossroads' on his 'Pump It!' album. His proved there not only his technical ability but also his ability to speak with an authentic blues voice. He doesn't retread the same ground here and there is relatively little 'Cream' content, much in the same way that Jack Bruce did much more on his own than he did with Baker and Clapton. Now, I'd be lying if I said I cared about the blues, I don't. As far as musical styles go it is not for me but I've always enjoyed Jeff's ability to add a little blues flavour or phrasing into a line where it suits without becoming tired. The track listing and arrangements on 'Jack Songs' will illustrate to you that this is not an album of straight blues though it does have some bluesy bits. Jeff had mentioned in interviews that he had been inspired by a re-imagining of some Beatles work when he was conceptualising 'Jack Songs'. As a result, the songs on this album are not straight covers. They don't go as far as to be 'reimagined' versions but they are deft and dense rearrangements of the original works. In choosing this approach, Jeff has freed himself of the constraints of the originals whilst maintaining a respectful deference to how Jack had written them. As such, I think any fans of Jack's records will be surprised and entertained by how Jeff uses musical quotes and altered arrangements to recontextualise the music on 'Jack Songs'. This is a record of significant musical depth that will require several listens to dissect and appreciate. If value for money is a concern of yours, consider that you will have plenty to listen to here. The guest list is extensive and whilst some of the appearances are very brief, they do add great flavour and character to the record. The bass relay on 'Smiles Story and Morning Grins' is great fun and I let out an audible laugh when the final whistle goes to call an end to that section. This is really a record where the guests are left to shine, and having the most extensive guest list of any of Jeff's albums, it makes sense that space was left for them to take the limelight when the moment calls for it. If you want to hear some great bass (and keys) playing from Jeff, you'll get it here! But you'll also hear some great performances from the likes of Scott Henderson, Alex Lifeson, Billy Sheehan, Ron Thal, Gary Husband, Geddy Lee and Johnny Hiland and many more. Jeff gets the biggest, punchiest bass tone he has used in years and it absolutely anchors the band throughout. I don't want to say much more because, having been so long in the making, you may feel the same sense of curiosity as I do about what 'Jack Songs' is about. If you do, I'd urge that you check it out! Ultimately, what may come next may be even more exciting. Jeff recently took delivery of a 24 fret Cort Rithimic bass which he has stated would be used for his next project. He has talked for years now of doing a record of classical pieces and in recent years has studied composition and arrangement. If that really is what he is planning then I'm signing up now. We are lucky in that one of the true luminaries of our instrument is still actively engaged in making great music and playing more. Lets just hope it isn't another eight years in the making this time!"

Let me summarise the way of getting positive outcomes - 1. PA does all the heavy lifting 2. Onstage volume as low as possible or even better... silent stage. All this reduces the chance of feedback and unwanted bleed into mics 3. Yes, I know all your favourite artists use big amps on stage... but they also tend to play on big stages, reducing the bleed. 2 in a pub (for example... or difficult venue (highly reflective surfaces)) is a winning move. 4. IEMs can be used in the pub as well as stadiums. Arguably they will be more useful in a pub for creating a better sound that is easier to mix out front... and easier for yourself to hear at a safer volume. 5. If you are using monitors, make sure they are pointing up at you from the floor (or roof mounted (as in some venues) pointing down). Depending upon the mic pickup pattern, either behind the mic of off to the sides of the read of the mic. Regarding 2 and 3... Springsteen knows best - His backline is big - but so is his stage - so separation between volume sources and mics are maximised - leading to a greater reduction in chance of feedback. The amps and cabs are running enough to get whatever tone guitarists tend to be precious of. They are still miced up and the PA is providing the volume for FoH. The cabs are completely off axis to the mics in the fact that they are pointing straight up - greatly minimising bleed. Oh and 6. If your drummer is a noisy f**k, your band may sound better for them using an elec kit. (OK tonally may not sound as good... but a decent mix is superior to overly powerful drums in the mix with a load of cymbal bleed going into the open mics). If not, drum screen/booth of shame (although practically of moving this can be prohibitive. Just get the noisy buggers to shut up a bit (they won't... they may for sound check... but they'll always do the equivalent of the guitarist turning around and turning up (e.g. hitting harder) anyway)

Rock Around The Glock' ～ Bill Haley and The Comets

Had an enjoyable evening with this. Now…to find something to do with it.

Not my cup of tea stylistically ... and a cool £5k to boot. But super-rare (only 50 ever made) and Stanley Clarke afficionados will find it interesting (calling @jazzyvee) https://bassbros.co.uk/product/lieber-stanley-clarke-lieber-spellbinder/

Looks like there are 5 members pretty close to me, one of whom appears to be literally around the corner from where I lived a few years ago. So now I know where they are, I can pop round and rob them. Which may, in the broader scheme of things, prove to be something of a flaw in the concept.

Friday 29th of July I was sideman for a headlining act on Hastings pier where I opted to take the 50s Fender P, the Aguilar rig and IEMs for what was mainly a Pop/Soul sight reading vibe. Zero rehearsal!

I think this is my problem - I have a serious aversion to organised "fun". Not to having fun, but to be expected to enjoy something that's clearly sh1te!

Also the Spector website appears to have changed - there’s no longer a section for the Fortes, NS Bolt Ons or NS Neck Thrus. Looks like all USA models are now from what they are calling the Custom Shop.

Pull up to the Dumper. Grace Jones

What a shame. Looks like my next US Spector will be an NS-2 then, but before that’ll be getting a Euro for touring alongside the Forte I bought from you ☺️

Pfft. I can sound EXACTLY like Victor Wooten. For one note. It all falls apart after that but that one note, man .... it's amazing!

A bit earlier, I posted a photo of the headstock, and it is indeed a NS-2. However, the specs sound indeed more like a Forte, but I don't think Spector is making any Fortes anymore (as I said, according to a US retailer who is taking Spector orders). So, if someone wants a no-frills NS-2, you cannot go down the Forte route anymore and will have to get a lower specced NS-2 with the much higher price tag. Sad but true.

Oh Yeah - Yello

Apart from the lack of crown inlays I'm not quite sure what makes it a Forte rather than an NS2 (with 18v Haz). Beautiful bass (my fave colour!) but I'm done paying that sort of money for any instrument....

Currents in the ball park of 20mA are normally far too much for a realistic light level. An LED of any colour will likely be too bright for comfort at that current (it will also produce a heating effect that reduces the brightness a bit and shortens the life expectancy of the LED). Values of 10/20mA are often quoted as max continuous rated current etc but typically much lower currents 1 - 2 mA or even less for "High Efficiency" types give a usable light level.

This whole thread has confused me. So far as I can see, or hear, surely it makes no difference where the starting point/flat is on the eq if you are then adjusting it to find the sound you want? if you have to move it from 9 o'clock, noon or a quarter past 3 the end result will be the same because you are looking for a sound, not a position on a control knob. And if you still can't find a sound you like, move on to a different amp. Or have I missed the point? Wouldn't be the first time

I've got one of the very first batch. The nut width is 50mm and the distance between the centres of the two E strings (the really important measurement IMO) is 41.5mm. The distance between the the centres of the the two E strings at the bridge is 65mm which works out at 13mm between strings. IMO it is noticeably wider than all the other Bass VIs I have tried, and noticeably narrower than a conventional long scale B-C six string bass. Whether or not it suits you will depend on how you play. For the sort of music I'm playing, post-punk/goth, it's exactly right in feel in that it doesn't feel cramped like a Fender Bass VI or cumbersome like a "conventional" 6 string bass. HTH.

I played a pub in Mountain Ash a few years ago with a separate room for the band to play in. The pub was full of your average punter mix but the room filled with a younger crowd. We kicked off with our usual opener to test the audience reactions (I think it was 'Walk of Life') after which they were calling for more modern stuff, so we played a few contemporary songs. The reaction was 'play some oldies' and one guy yelled 'play Apache'. It felt like they were taking the urine. We were playing to around 50 people for most of the night and this back and forth went on for a while - we play an old song ("play something we can dance to"), we play a 'dancey song' ("play some oldies"), play some pub classic ("play something modern"). We didn't lose the crowd and there was always clapping and cheering in appreciation, but then the inevitable call for old or new. And always in the gap between songs there was the lone voice shouting 'play Apache'. In the end we went into stubborn mode and they got our favourite songs at our favourite volume with minimal gaps in between. But still there was the lone voice calling for Apache. We were glad to finish and as we were packing up we had the usual 'great band, lads' from some of the punters as they left. And one guy came up to us and said 'you're rubbish, you can't play Apache.

The Downward Spiral NIN or The Bends Radiohead love every song, the order and intensity of both albums.

A good sound! I think it’s always good to know what your amp sounds like ‘neutral’ so you can understand the gear better. Then when you add EQ you know whether you’re fighting to get away from the baked in tone or adding to a sound you already like.

Hanging on the Xylophone - Blondie

Actually, this: and “Psonic Psunspot” too.

I have the Russian mafia after me so I won't be giving away my location. Good try comrade!

Agree about the crap artwork but I think the new album is alright. Have heard worse, put it that way ... *cough* World Needs a Hero Some nice nods back to earlier tracks of days gone by without any cookie cutting songwriting. Got a couple of decent tracks on it, although can see why they released We'll Be Back as the album teaser. FYI the main guy in that video who plays the soldier is the chap who dresses up as Vic on stage everynight on tour.

When I'm practicing I have a small digital dictaphone on hand and any riffs, chord sequences, rhythms etc that pop up are recorded. I trawl through these every so often and anything that still inspires gets transferred onto my laptop, where my copy of Studio One 5 lives. I'll play around with the ideas I have, see where it goes and usually end up with something vaguely song-like which I will work on over a few days until I have something more solid. I will usually record a basic drum pattern and add guitar and bass as guides, with the intention of replacing them later. If it's still working, I will start to re-record parts and this often results in changes to arrangements and structure. Only at this stage am I starting to think about specific sounds, little fills and riffs and all the other details that make up the final song. Lyrics appear at almost any stage. I write lyrics independently of the music and I have several dozen pages of scribbles, phrases and lines that provide a starting point. I try and leave gaps of several days between major stages of recording so that I can come back to the project with some freshness and objectivity. Like other have said, sometimes I find that what I thought was the next no.1 when I was working non-stop on it is actually fairly non-descript when I return after a short break. Once I have a 'finished' item complete with rough mixdown, I'll put it to one side for a week or so and then put it on my iPod and listen to it a few times when out walking, or in the car. Final mixdown is done after making notes based on the listening experience. As I am usually recording solo, these are largely for my own pleasure and not intended for general release. I think if I were considering a commercial release I'd get a more experienced pair of ears in to listen and help with the mixing and mastering.

Dear Friends, this is Valérian Werner , my personal painter & friend! Attached a few pictures of my next Basses … stay tuned & many thanks bro for your awesome paint job 👍

Just a word of friendly advice for any new SWBB attendees. Last time I was in attendance I drove down the day before and foolishly ate a large curry the evening before the bash. I had no idea that lunch at the SWBB was a BIG thing, like turn off the amps for an hour serious . I'm not one to use capitals but in this case it is highly appropriate. The food at the Bash is a rare combination, it is delicious and there's tons of it! Due to the previous evening's curry I was rendered unable to eat the amount I wanted to, mind you I think I still managed to finish off an entire tray of roast potatoes, somehow. Mountains of excellent food, great company, a shed load of bass gear, tea and coffee on tap... In short, it's like you died and woke up in some kind of perfect heaven.

And a little more done.... Before I start applying the final finish, I wanted to make sure everything fitted together properly so any adjustments could be made without creating more work! I've fitted threaded inserts for the pickup screws again - just something about them that I like but a minor detail. The strings for this bass are custom made by Newtone strings, this set is .105 to .025 so tuning E to C. I'm quite pleased how the tuner arrangement has worked out - the headstock isn't much bigger than the four string versions I've made before. I will use this headstock layout again on a longer scale 5 string at some point soon. I've played it acoustically and I'm really liking it! The pickup is and EMG 40TW so has a pull switch on the volume to split the coil and give a bit more variation to the sound for a single pickup bass. Next task is to fit the other hardware and electrics so I can finish the body. The neck then needs the frets dressing and I need to make a nut. No too far off so should be ready for the SW Bass Bash.

Short finals. Body and neck carving next.🥰

If a solo violinist was playing a piece, they would put a certain interpretation on it - it wouldn't be what you would hear if you put the same piece of music through a sequencer and synth. That's why Nigel Kennedy and André Rieu get paid lots and lots of money.

Following the same ''logic', one wouldn't read a book, but write one's own..? Poems, too..? One can learn much from that which others have written, be it on prose, poetry, lyrics or musical notation. There's no shame in reading books, so why music..? It doesn't stop one from creating at all, quite the opposite. It can (if one has the will...) provide stimulus to further one's own creations. That's what I've always found, anyway. Disclaimer : I play drums. I play what comes into my head much of the time, but also know how to play a wide variety of styles others have established. When I'm playing calypso-style, for instance, I'm not simply copying what I learned by reading, but my own version, adapted to the piece being performed. It makes complete sense to me.

So Many Roads.

Finally. Back in the club. A (not battered) burner. 1993. Looking forward to arrival.