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I've been trying to get a Spinal Tap tribute band together for years, but can't find a drummer.

Never seen the words 'stunning' and 'Bongo' in the same sentence before. However that does look rather pretty. The headstock shape does still remind me of Peppa Pig's head, though.

This whole tribute act argument bores me to death, what's the problem? If you don't like it move on to something you do like; if I stopped to add comment to everything I didn't like I'd be typing for the rest of my like and never get off page one, the sooner you grow up and get on with life the better. We're all different, accept it, don't make yourself look inadequate by trashing everything you don't like. Like it or lump it, the market for bands is driven by audience demand, if they don't want to see it they won't pay and hence you don't get the booking. The universal truth for any group of musicians is; if you want to get on you have to give the audience want to hear what you have to offer or make the audience want to hear what you have to offer and no amount of whining or whinging will ever change that Very sorry about that, one of the few things that annoy me are people who like to put others down in any way, why not try and make them smile for a change?

Thank you, Christine. You have been on the forum for 2 days and this is the most eloquent and sensible thing I read read on the tribute band subject and in response to this ridiculous post.

I've worked for the last 20 years in a show featuring imitators of everything from Elvis to Edith Piaf. In that time, there have been lots of funny and bizarre stories, but the oddness of one has always pleased me. We have a Ray Charles impersonator who is an old white gentleman who uses black make-up on stage. This already feels a bit sticky and I'm not sure how I feel about it, but..., anyway my black colleagues have never commented one way or the other, so I don't know what they think about it. There is a shared dressing-room for the male acts and one for the female acts. Some years ago I walked past the mens dressing room and the door was open. There I saw, sat directly next to each other, the white guy putting on his black make-up and seated next to him a Michael Jackson impersonator, who is black, putting on his white make-up to do MJ. The irony (if that's the right word) of the situation didn't seem to have struck any of those present. I just kept walking and felt like an extra in a Jim Jarmusch film.

Here’s my 4 HCA Sandy’s Umbo, TSBS, 48, TM2

A House In The Boonies / S13 Ep4 / Wales Final Broadcast Transcript Run Time 29’:22” Pre Creds: Presenter (Wendy) to camera “This week we’re in Wales helping Ron and Marjorie to find … A House In The Boonies” Opening Creds – Theme Music: ‘Plinketty Plonk’ Scene 1 – Establishing segment Wendy to camera: "Ron and Marjorie Blart currently live in a poky, condemned one bedroom flat in London but hope to exchange it for a gigantic mansion in Wales possibly with turrets. Ron’s a retired astrophysicist and Marjorie’s a lion-tamer so they need some land for Ron’s collection of radio telescopes and an enclosure for Marjorie’s pride of lions” Shot of lions ripping zebra to shreds – Incidental Music: ‘Banjo Breakdown’ Wendy smarming to camera: "So how did you two love-birds come to be married?" Ron and Marjorie to camera, holding hands: Incidental music: ‘Disco Love Theme for Ukulele” Ron: “We met when Marjorie’s circus came to perform at Jodrell Bank. It was love at first sight” Marjorie: “I’d never seen a little man with such a huge telescope” Music stab: ‘Trombone Wah-wah-wah descending’ Wendy: So what’s the most important feature you’re looking for in your new House In The Boonies? Marjorie: The master bedchamber must have have lots of light. And I want a snug little room somewhere to do colonic irrigation. It's a hobby of mine. Ron: I’d need an absolutely stable gravitational environment with no electro-magnetic eddies… Wendy: Right… Ron: … but it’s not a big issue as long as Marjorie’s lions are happy. Particularly Rex… Marjorie: Yes, Rex. Rex is a bit picky. Wendy: (simpers) Well, we’ll be looking at three luvlay generous properties after the break Break Bumper Music: ‘Pizzicato Plonketty Plink Plinketty Plinketty Plonk’

Terrible when that happens, it's the bitterest pill, you might as well light your funeral pyre and all around the world, in a strange town, a town called malice in fact , this English rose and the man in the corner shop along with Smithers-Jones will write to the news of the world for publication in the city but not pretty green fields filled with carnations How terrible is that?

In fact, the Vienna Mozart Orchestra dresses up like Mozart (see post above) and performs only his work. The Bach Ensemble was formed in 1978 by the esteemed Joshua Rifkin, plays Bach almost exclusively and has recorded only the works of Bach. Indeed, in the geographic home of the tribute act The Haydn Orchestra of Australia hews pretty closely to his works but occasionally chucks in stuff like Boccherini to sweeten the pot. The list goes on... In fact, it's a pretty established tradition among jobbing classical musos to form scratch bands with rotating personnel and to name the aggregation after certain well-known composers; to begin by performing a mixture of that composer's faves and rarities and then - when the steam starts to go out of it or they've made their name - to start throwing in music by the composer's contemporaries. On the other hand, you get outfits like the Bach & Beethoven Ensemble of Chicago who go off the rails and don't perform anywhere near as much of the eponymous composers' work as one might expect but instead branch off into commissioning new stuff and generally being a bit arty-farty in the community (the better to score donations from charities, quangos, philanthropists, I suppose). So - within classical music - there's a clear and living distinction between 'function bands' that play a mix of well-known covers (the LSO, The Berlin Phil) and sort-of-tribute bands such as those mentioned above. Then there are era-bands like the Academy of Ancient Music or The Consort of Musicke or The Tallis Scholars who roughly equate to I ♥ the 80's acts. New original music is regarded as terribly worthy but not as good at putting bums on seats as a programme of old chestnuts, unless it's ghastly pabulum by the likes of Einaudi and Karl Jenkins as hawked by Classic FM in between the good stuff. In fact, the more one thinks about it, the more the classical world and the pub music market come to resemble each other with the financially-driven need to pull audiences in with the offer of familiarity and / or focus.

Yeah.... that's what the JAM tribute say....

I would phone you and talk you through this... but I suspect you wouldn't be able to hear me over your tinnitus.

Bass Guitar Magazine has been raising funds for pro bassist and staff writer Ellen O'Reilly, who has been diagnosed with aggressive breast cancer and is undergoing all sorts of unpleasant chemotherapy, keeping her off work until she is better. LBGS exhibitor Strings&Things donated this bass with a view to getting it signed by as many stars as possible and then auctioning it for Ellen. This is the link, in case any of you would like to own the bass, and help. Many thanks from all at BGM! (Yes, I have Ped's permission to post this.) https://www.ebay.co.uk/itm/Totally-Unique-Sterling-By-Musicman-SUB-Series-Bass-Guitar-See-Description/222980908977

When Later first aired over 25yrs ago (pre-internet/YouTube etc for most of us at the time), for me, it was like a breath of fresh air in terms of being able to see live bands on the telly. It gave music fans the opportunity to see bands/performances that we wouldn't otherwise have access to. So, in the spirit of the above here's something that blew me away when I first saw it in summer 1993, and still does, in fact... At the time I think it was one of her first live appearances after Debut came out. I love the song, but this version, to my ears at least, is the best live version I've heard to this day. Captures the original and adds that little bit more. And I was (and still am) intrigued by the bass/guitar (?) that is used as a percussion instrument by one of the keyboard players. Anyone else got any standout moments from Later?

Could be worse, could be me waving my Beef Bag under your nose

I reckon that north of 90% of the acts on Later have not been to my taste. That doesn't make Later a bad show. Later is a good show because it features live music. Why anyone would want to take it off the air just because they don't like the acts beats me. What these people should be moaning about is that lack of alternative music shows on TV. With more choice, maybe, people would stop bleating on about Later.

Acme do cabs that go down to -6 dB at 31 Hz. They need a LOT of power to drive though. With bass cabs, you can get them to go deep, be small, or be loud... pick any two! Al, get some 18" subs for your next gig, get Cuzzie to lend you his Beefbag and we'll all turn up to experience the true meaning of heft. Of course nobody will be able to hear the other instruments or even focus their vision due to their retinas vibrating, but they are but minor drawbacks to an otherwise excellent plan.

I actually started to get trolley GAS ... no, seriously, stop laughing ... and came up with https://www.sitebox.ltd.uk/clarke-cst12-industrial-sack-truck-oclarke_6500185?paid=googlepaidproducts&gclid=Cj0KCQjw0PTXBRCGARIsAKNYfG15YVWAjE6e5U9jhnKD4qWopfRbEjIUDHizjKwf5HHJoH089U7QP2UaAjCeEALw_wcB Luckily, I had the sense to ask what the (unladen) trolley weighed before I bought it. 21Kg. Ah, right, so now I need a trolley to move around my trolley ... perhaps not.

Copied to BC Famous Quotes thread. Laydeez'n'Gemmun, we have a new record for fastest newb into FQ's. Kudos.

Ped, can we ban Christine please?

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Edit, edit LOL I was just typing the same, Going underground now LOL

Al, you've spent the last 6 months raving about high pass filters, now you want to evacuate everyone's bowels by reproducing notes at 20Hz. Get a grip man! Psycho-acoustics is a complex field, your piano test doesn't quite take all factors into account. You could roll off everything under 100Hz and still be able to tell the difference between the low E on your bass and 7th fret on the A string. Your brain knows what a bass guitar or piano sound like and the typical ratios between the various harmonics that give it it's unique timbre, so it's very good at detecting the difference between two notes an octave apart when the fundamental is chopped off. However where it gets interesting though is that musician's brains are better at this than the general population - with enough low end rolled off, some people might perceive a step from 7th fret on the A string to 1st fret on the E string as a step up in pitch rather than a step down. The Wikipedia link posted earlier goes into this.

I put some sadowsky knobs on my PM5 last week. I can now tell what the settings are without touching them!

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I was a founding member, and spent 26 years, with a KISS tribute band. We wore the full outfits and boots (custom made and VERY expensive), had custom guitars made (and existing guitars customised) and took the musical/vocal/arrangement accuracy very seriously. To me, that's what makes a 'tribute' band, rather than a 'cover' band. I even went as far as to learn firebreathing and we filled our performances with the expected pyrotechnics too.... It all paid off though... We were the first KISS tribute to perform all over Europe & Scandinavia and played numerous international fan conventions too. Over the years we played with, played for and/or appeared with almost all original and latter members of KISS as well as appearing on both of Gene Simmons worldwide TV shows. We performed for the Red Hot Chili Peppers and Def Leppard, headlined festivals and launched products (Volvo etc). We also performed at music 'trade shows', played Halloween at the Cafe De Paris in Monaco and toured Japan with The Bootleg Beatles, Counterfeit Stones, T-Rextasy and Royal Family (Queen show), gaining endorsements from Washburn, Ibanez, Cort and Spector along the way.... We even discovered that KISS were keeping up date with our performances and later found that a mid song breakdown/arrangement I had created had been adopted by KISS themselves in their live show! It was very hard work, but great fun and gave me life experiences that will stay with me forever. I also spent spare time in originals bands and cover bands over the years so have seen both sides.... Tribute haters gonna hate...... usually from their bedrooms...... but I guarantee I worked 10 times harder during every 2hr tribute show than haters ever have onstage....

Hi everybody, Been reading interesting stuff on basschat for some time, and just registered ! glad to meet y'all !

I don't - holding a grudge is an important thing in life

I've had to book 6 months in advance to see The Musical Box Edit: I don't think there's much chance of the originals reforming to play that stuff

So hiya! I'm from north Wales, been playing since 1974 but don't let that fool you into thinking I'm any good, you'll be sorely mistaken but I still enjoy it so what the hell. I play in a Banshees cover band that gigs on a very occasional basis, we hardly push ourselves but again it's a lot of fun I have a couple of Gibson Tbirds, a Fenderbird and a Fender Jazz at the moment. I also make guitars for a hobby, I've been doing it for years now, that's a lot of fun too So in a nutshell that's me, lazy, rubbish and likes to have fun, even at my age

For transparency, I work for Novation & Focusrite and am only chipping in with that hat on as our gear has been mentioned. I’m not personally aware of any lesser latency performance of our midi controllers on PC compared to Mac, that said it’s been a LONG time since i’ve used a PC, long time Mac user. Its worth noting that our Launchkey MK2 doesn’t have a 5pin din connector, largely because we worked on the premise that it simply wasn’t needed. Remember that if you run din through an interface, you’re still connecting to your PC via USB. There may be something in how midi is implemented in the 2i2 driver compared to the Windows driver, however that is a step above my knowledge. I could have our UK based tech support give you a call if you want to ask about it PC midi performance Vs Mac with the Launchkeys, or of course call them at your convenience on: 01494 462246 If there’s anything else I can answer, please let me know. Si // Focusrite & Novation Media Relations

I'm not sure I'm psychologically capable of allowing myself to believe that.

@Andytre I'm hoping you got extra super lucky and that's a mahogany body Patriot They came with just the barest hint of a varnish finish so most folks re-finish at some point. Sorry to say you'll have no luck getting a scratchplate from Peavey, a mounting ring for the SF though can be had from Dave @fretsonthenet. http://www.fretsonthenet.com/ESP_Carvin_Peavey/peavey.htm If you need to know pot or cap values PM me and I'll check what's in mine.

I take a Y cable from the midi out. One side goes to the Strymon Big Sky and changes patches for me, either by a patch change on Helix or a snapshot on Helix. The other midi cable goes to my iPad interface and foot switches on Helix operate record, toggle and clear on the looper app I use. Midi channel 1 goes to iPad and channel 2 to Big Sky. So useful I also use a neat trick to play different steps of harmony on the Dual Pitch on Helix. I have setup four foot switches to change the harmony to 4th, 5th, 7th and 9th. Just play one note with the Ebow and hey presto.

Here we go. I have a reputation as the Jazz aficionado on here but here is something else I do that is a little different to the normal 'random noodlings'. Features Tim Ainslie on guitar and Brendan O'Neil on drums (Brendan played with Rory Gallagher for 10 years).

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Not my band obviously but I wanted to share this classic shot from the Manchester venue "Band on The Wall" that takes its name from the noval stage design it had back in the day.

Thanks guys and I will give this a go. There still seems to be a lot of love for these units and it's my spare amp rig (DI out)

Many thanks for all the advice and comments above, much appreciated. I clearly need to get over to Bass Direct to do some head to head comparisons between EICH, Trickfish, Mesa, Genzler Magellan, Vanderkley and all. Difficult to fit trip in for the foreseeable between gigs (good complaint) and family stuff. In conclusion, I have gone against my credo of never buying an amp without trying it first, but there is severly limited, if any availability of really top class bass amps in Ireland. So with recommendations from venerable and trusted sources, a couple of Youtube demos, my impatience being what it is , and no signs whatsoever of my cronic G.A.S. abating, I have pushed the "add to cart button" for the Quilter Bass Block at €499 i.e. about £436 @ current ROE. It seemed rude not to. Anything else on the wish or try list is going to be between 2 to 4 times that, and a visit to UK dealers would approach the cost of the Quilter, so I 'm taking a punt! I will report back in due course Cheers

Yes. Like I said, not a dreadful song but I've played it for years and am utterly sick of it. There are so many other SRV songs that are better as well.

I tell you this Configurator tool is dangeroous! Would love to own a Sandberg, this would be about as close to a dream fretless I could get (or maybe with a dark brown coffee table body):

It’s time again for us to think about choosing some new songs for our set, and as usual nobody can agree on which songs to play. We play the local pub circuit doing alt rock and indie covers from the last decade or so. As far as I’m concerned we are there to entertain people which means playing big songs that people want to jig about and sing along to on a Saturday night. Whether or not we like the song in question is largely irrelevant, in fact there a couple of songs that I can’t stand and don’t like playing particularly, but I tolerate them because they go down a storm. Several song suggestions were made over the weekend by members of the band but our drummer has, as usual, vetoed every single one of them: ‘not playing that, don’t like that one, don’t like this one’, despite the fact that all the songs suggested are guaranteed crowd pleasers, which surely is what we’re trying to do? The complete inability/unwillingness to see beyond your personal feelings on a song is really frustrating, and holding us back as band. None of the songs I played when I was doing the function circuit were songs I’d go home and listen to, but give me a floor full of people loving you playing Katy Perry over a couple of blokes staring at you from the bar while you play a Pendulum album track (yes really, we used to...) because the drummer likes it any day. So, I’m venting because this happens every time we choose new songs; we always get past it in the end, but damn it’s frustrating...

yep and me on my Precision, proving the point (I think) that cutting is better than boosting, cut the frequencies you don't want and the ones you do become more prominent

There is a middle way which avoids confusion and visual incongruity: The Heartfakers - A Tribute to the Music of Tom Petty and The Heartbreakers

I think it's Lee Sklar who has a "producer switch" on his bass that does absolutely nothing, but if he gets the shout that something isn't right with the bass sound he flicks it in full view of said producer and invariably gets the nod...

I use the dots on the side of the neck (which on my Wal are where the 3/5/7/9/12 etc frets would be) just as I do when playing a fretted. I realise this makes me reliant on the dots rather than muscle memory but fact is I haven't even got good enough muscle memory on a fretted bass so I have no hope of intonating properly on a fretless with out a visual aid. So I am the bass player that has to stare at the bass neck frequently when playing, which is not a biggie in my book! After all, I'm only "the bl**dy bass player", not the front man or the guitar hero