skej21

The 'Essential Jaco Pastorius' book front-to-back because it's getting to that time of year when I have to remember/teach the pieces to students who want to play them in grade exams. Luckily I can still remember most of them, it's just getting back up to speed and playing them accurately. I know I should probably just practice them throughout the year, but by the summer I'm usually fed up of hearing/playing them.

Have you ever considered a 1 x 12"? I run a GS112 with a Markbass LMIII and total weight is 22kgs (Cab is 19kgs and LMIII is just under 3kgs!) IMO the perfect rig. Light, LOUD, compact, warm and full, responsive and it's great fun watching people's face when they realise how much air it can push!

There are some beautiful rigs in this thread. Here's mine pictured with my '57 CS P bass (also featured in my avatar alongside my 70s Jazz). It seems to be rather small in comparison to some of the powerhouses and heavyweights in this thread, but I love it and it won't be going anywhere (unless it breaks!).

[quote name='bh2' post='1071011' date='Dec 28 2010, 03:13 PM']I reckon the stock pups on the CVs sound pretty good. I think the hardware is okay too but I love the look of the vintage machines on these... These on a CV P.[/quote] They are the same reverse machine heads that are on the 50s Precision Bass and I love them. They look cool and it's just a nice quirky feature to have reverse tuning pegs. A definate upgrade for me. *EDIT* [url="http://shop.absolute-guitars.co.uk/fender-vintage-bass-tuners---nickel-rh-1025-p.asp"]http://shop.absolute-guitars.co.uk/fender-...l-rh-1025-p.asp[/url] - £74.99 for a set of 4.

[quote name='ThomBassmonkey' post='1071000' date='Dec 28 2010, 02:56 PM']Having worked in an instrument shop, there's two sides to knowing best. The staff in the shop (especially in small shops) probably do know their stock better than you do, they spend all day with it. They also (probably) have more contact with musicians in relation to gear than you do. What's important to remember though (as a member of staff in a shop) is that instruments are horses for courses and just because I think Thumbs make great rock basses, it doesn't mean the next person wants that sound. Giving someone advice when they ask for it or nudging someone to at least look at something else before they buy expensive gear is the responsible thing to do IMO. Letting someone spend thousands without looking at other options is a bit silly. Though if someone has their heart set on something, it's equally stupid to try and talk them out of it (from a business perspective, probably stupider).[/quote] +100000000000 The internet is for people who think they know best or have their heart set on a certain instrument/pedal/amp etc. If I know I want a specific piece of gear (an acoustic guitar for example) but I'm unsure of whether I'm right or don't know of many alternatives, then I go into a shop in search of the expertise and experience they have with the gear and because I'm happy to pay a tad more in the hope that I get what I'm looking for. Alternatively, if I want something that I've tried a million times and I'm sure I want, I just get online and have it sent straight to my front door. Simple.

[quote name='Grand Wazoo' post='1070990' date='Dec 28 2010, 02:42 PM']Get yourself one of these kits off ebay (they are the dog's scrotum ) [url="http://cgi.ebay.co.uk/WIRING-KIT-FENDER-PRECISION-BASS-HIGH-QUALITY-/350419402129?pt=UK_Guitar_Accessories&hash=item51969fbd91"]http://cgi.ebay.co.uk/WIRING-KIT-FENDER-PR...=item51969fbd91[/url] And any decent pickup such as a Lollar or a Seymour Duncan Antiquity and you are [b][size=3][color="#800080"]"THERE!"[/color][/size][/b][/quote] THANKS! Christmas cash has found a new home, and I get a new bass. WIN all 'round

[quote name='Grand Wazoo' post='1070914' date='Dec 28 2010, 01:04 PM']The Squier CV 60's Precision in Fiesta Red is a classic that in the years to come will be REALLY big. Galaxies better than a VM one in terms of actual manufacturing construction, these people got it absolutely right, the neck pocket is perfect, the fingerboard and the neck itself are a joy to play, and yes it is a glossy one but the non stick kind, your hand will glide, trust me. The body is made out of basswood light and very resonant. It comes with a Highmass bridge with brass saddles and that is a BIG plus as it gives the bass a gorgeous resonance. People have commented on the machineheads for being cheap and nasty, but even being picky I can live with them. The only major nag I have with [b]ALL[/b] the CV Squier's is what's under the pickguard and the pickup, which [b]"in my view"[/b] is where Squier cut corners, wiring, pots, input socket and the pickup are very cheap and flimsy utter sh|te. I have replaced the lot with CTS pots, Sprague Cap, original fender waxed cloth wires, a switchkraft input socket and for the ultimate sound I've stuck a Lollar pickup and now you'll have to pry it off my hands. The way it is now I consider it better than Fender MIM which the workmanship is no where near as good as these. Try one and see for yourself.[/quote] I'm also considering buying a Fiesta red CV Squier Precision. These seem to be really killer basses. I've played a few and I really love them. However, I've seen this (http://guitarguitar.co.uk/bass_guitars_detail.asp?stock=05070214181319) and was wondering. If I got the Squier and upgraded the pickups, switched to the same reverse machineheads as the 50s P bass and put some flats on, would it be cheaper AND still as good a player? I don't care about the name on the headstock, but if it'll be cheaper to mod the Squier and it will play as well, then I'd go for that! (Plus, I like the Fiesta Red/RW fingerboard combo more than the FR/Maple!)

[quote name='foal30' post='1070623' date='Dec 27 2010, 10:54 PM']I'd say the Smiths are not only one of the best bands from England but also one of the most important. they don't sound anything other than English great lyrics interesting guitar player very good rhythm section high quality tunes = the sum is greater[/quote] + 1 However I do think that The Smiths are a poor man's Housemartins. The only thing stopping The Smiths from being a really GREAT band is Morrissey. Paul Heaton is very much an underrated singer/songwriter and has written songs that are as important and relevant today as they were when they were written (such as 'Five Get Over Excited' and lyrics like "Feigning concern, a conservative pastime, Makes you feel doubtful right from the start"). However, whilst The Housemartins mixed their clear political views with a rather cynical sense of humour, The Smiths had their messages tainted by Morrissey's awful vocal styles and huge ego. [u][b]IMO[/b][/u] I would like to add, I am not (in ANY way) disputing the fact that the instrumentalists in The Smiths were fantastic musicians and songwriters. I just feel that Morrissey in The Smiths is like putting dog poo in a Steak and Ale pie. Criminal.

[quote name='steverickwood' post='1070879' date='Dec 28 2010, 12:15 PM']True indeed. We should be playing because we love to play and not expect to be slated if we are not virtuosos. Have fun and try to play within context; lets face it, if we all followed some 'how to do bass that will please everyone' guide we would be dull and similar. Some people play lots of notes and some play few, but ultimately I reckon we are better off practicing right now to improve our craft, as opposed to talking about it and how we could do better. (guitarist and lightbulb joke?)[/quote] Or the "million notes to four people, or four notes to a million people" jazz versus rock joke lol. At the end of the day, the truly awful bass players are the morons who think they know best. Making comments about how you could "play something better on the fly" or putting other bassists down because they play something "simple/easy" (such as Clayton) is just a mixture of jealousy, sheer arrogance and naivety. Being a great bassist is not about how many notes you can/cannot play or the standard of your playing. It's about being humble, respectful to fellow players and setting yourself challenges to improve your playing. There will always be someone out there who has achieved more than you (regardless of how "easy" there playing appears) and who is a more complete player than you and similarly, you will always be better than someone else. A truly great bass player realises this and uses his acquired skills to help players who are behind them and respectfully seeks similar help from players who are ahead of them.

IMO they are not overrated, just overpriced.

Here you go Musicman20. The new Aguilar Tonehammer 500 and SL112. Simply stunning IMO.

Another update guys. New tonehammer 500 alongside Aggy's newest cab, the SL112. MASSSSSSIIIIIVVVVVVEEEEEE GAS ATTACK!

[quote name='steve-soar' post='1065128' date='Dec 20 2010, 08:58 PM']Have you had your end away?[/quote] HAHAHAHAHA! This literally made me laugh out loud. After re-reading this thread with that in mind, a lot of the advice works for both. Universal advice - Plenty of practice and develop your technique so you're well prepared when the opportunity arises

[quote name='wateroftyne' post='1065035' date='Dec 20 2010, 08:08 PM']Time spent out in the real world gigging & meeting other musicians [i]GREATER THAN[/i] Time spent in bedroom widdling over chord changes [i]EQUALS[/i] success IMO.[/quote] + 1 Only thing I could add is that you should get a GOOD bass tutor. What I mean by that, is someone who has worked as a bass player in the areas you want to work (not a guitarist who can half-arse himself some bass lessons) and they will/should improve your practical skills like reading and your technique at a much quicker pace than if you try and work it out on your own. It's also important to learn from their experiences and discuss tips/shortcust they use to do the same job quicker. My old bass tutor used to tell me stories all the time and I always thought he just liked talking, but most of his tales have helped me at some point. One example that springs to mind is a story he told me about the first reading gig he did. He said he turned up and tried to be polite, shaking hands with the MD/players and introducing himself but found they all gave him funny looks and ignored him. MD pulled him to one side after and explained that the people who had paid (some posh punters) didn't know he had cobbled together a group of readers for the gig and that he didn't want the payer to click on, because once he realised the band didn't often play together, he would start listening more carefully for errors. This particular story helped me A LOT in the way I've conducted myself professionally and helped me avoid rookie errors that he had made, thanks to his advice.

New Aguilar Tonehammer 500, coming soon. New lightweight amp. Looks like it could be interesting for all the Aggy fans out there (like me lol).

[quote name='bubinga5' post='1062946' date='Dec 18 2010, 08:57 PM']well im not wanting to be the next best thing..im really not interested in fame or money...i just want to get involved in something im passionate about with others who feel the same.... there arent many people who feel the same around here..[/quote] So you want to move to one of the most expensive areas of the country with it's highly competitive/saturated music scene, just to play music you're passionate about for little money?! Sounds like a CRAZY idea to me... So crazy it might just work?

No effects here. Just a compression unit (not used for effect) and a tuner.

[quote name='Doddy' post='1056298' date='Dec 12 2010, 06:37 PM']...and as we all know,no one is more anti Tab than Jeff Berlin.[/quote] Apart from maybe you, Doddy

[quote name='Doddy' post='1056280' date='Dec 12 2010, 06:14 PM']Without going down he argument route again,no it isn't.[/quote] +1 (ish) I agree that using tab to learn a song in advance of a rehearsal or as a way to remember what you have done is an acceptable practice. However, tab is certainly not on par with notation in terms of accurately and specifically expressing the intentions of the music and/or the composer, so that it can be performed in the same way by any trained musician. There are many reasons why session musicians, pit musicians and most other pros don't use tab. The most important being that tab does not correspond (and often contrasts) directly with the annotation and written music other instruments such as brass, piano, drums etc will be using to perform from (standard notation). For example, what would happen in a pit ensemble if the bassist was reading from tab whilst everyone else reads dots and then the MD tells you "we go to the reprise at bar 45, not bar 49"... the bassist's tab and it's lack of bar numbers/written structure instantly becomes a useless and redundant tool. This sort of thing is what makes tab a poor alternative in comparison. It's not specific or accurate enough.