skej21

[quote name='Hobbayne' timestamp='1389950987' post='2339783'] I went for an audition the other night, and the band were very good with lots of gigs booked. They seemed very impressed with my bass playing. The only thing is, they are all the way in Reading and I am in West London. It took me an hour and a half to get there. They have offered me the job last night, but I have been mulling it over for the last few days and have decided against it as it is too far. They are such nice blokes, I feel a bit rotten for saying no. [/quote] Don't feel like you were the only option and you're letting them down. They might have offered to someone else first who had similar reservations so they asked you, so don't worry! It's only fair to let them know so they can sort out the issue ASAP :-)

One man's mundane plodding is another man's bread & butter.keep turning those gigs down and sharing the gigs/money around :-)

Do you need a better bass? Nah. They all sound the same with flats on ;-)

That '79 precision is nice :-)

I thought Google didn't work on rainy or snowy days so they don't have to declare as many working hours for tax purposes ;-)

Sounds awesome. Aren't kitkats more square than round?

[quote name='gjones' timestamp='1389738383' post='2337483'] A Geddy Lee with a John East J retro pre amp fitted, would knock spots off a Fender Deluxe. Search for John East retro pre amps on basschat and you'll see what I mean (they get a lot of love). But be aware the Geddy neck is ultra slim and doesn't have the graphite rods the deluxe does, so tends to need truss rod adjustment regularly if you like a low action. [/quote] I prefer a very low action and I haven't adjusted the truss rod on my Geddy for a LONG time. Even after changing strings, it's pretty secure and only needs minor adjustment at the bridge so I have to disagree with that based on my experience with mine I'm afraid!

[quote name='Guinness21' timestamp='1389737092' post='2337448'] Could do with some help I'm in the market for a second bass. I'm getting a scholarship at the end of the month which means my budget can just about stretch to an american deluxe jazz. There are other contenders - a 2eq stingray and an am. standard precision, but the jazzes are the front runners. I've only been playing for about 18 months, and whilst I have quite an eclectic taste in music, never really listened to any Rush. I've heard Geddy's name on here and tb a lot, but only recently thought to look up his signature bass. With a badass bridge, I think american vintage pickups (?) and it's looks, it has to be considered. I know the deluxe has active capabilities, but is it really worth the extra £££'s? Any help, or experience of either of these basses, would be much appreciated [/quote] I have a Geddy Lee jazz. Pickups are great (quite growly and aggressive but I like that!), the neck binding and blocks are lovely features, the bad ass bridge is a nice addition and the neck profile is uniquely slim/thin (which is usually the dividing factor between those of us who rate/hate this model)... Pros (as far as I'm concerned): Pickups being aggressive give me something different to choose from, bad ass bridge is nice, aesthetically kicks the butt off a US standard/deluxe and the neck profile feels amazing IMO. Cons (as far as I'm concerned): No hardcase, slightly less versatile due to aggressive pickups and much lower second hand value than US standard/deluxe models. Hope that helps :-)

[quote name='ubassman' timestamp='1389600526' post='2335857'] The technical things I want to get under my belt usually come out of struggling in parts of the music that I need to learn. To unravel problems , I use the 'whole/ part/ whole' method where I look at the [b]whole[/b] piece of music, look at the technical [b]part[/b] that needs the work , have a good think about what the issues are and develop it outside of the music with some related exercises, and then re-insert the finished product back into the [b]whole[/b]. What I find really fascinating to figure out is the detail of why the dots dont 'flow' in the first instance when I trying to learn certain passages. Usually it isn't about note bashing and committing to memory but is 99% of the time due to something entirely unrelated such as poor hand shape, ropey right hand technique, dodgy fingering, shifting etc, etc. Figuring out the detail is always the hard part but also the most rewarding! Anyone else set themselves goals about their playing and how do you go about improving technique? [/quote] Reading music is like reading words. When something simple and common (like a dotted crochet to quaver rhythm) crops up we recognise it and how to play it immediately but more complex passages we have to step through slowly (like trying to read a complex word like 'achaenocarp'). You automatically have to break up the information into smaller chunks which slows you down and ruins the flow. The best thing to do (as Bilbo mentioned) is to just read/consume as much music as you can and add to the music vocabulary you have and it'll help when more obscure passages or parts crop up :-)

[quote name='wateroftyne' timestamp='1389638352' post='2336435'] The prevention of it? [/quote] Fair point. I still find it odd that people can quote the individual weight of basses they have/had...

I don't understand the weight thing at all. I've never weighed any of my basses. I have a nice leather strap that seems to make anything I pick up comfortable so have never worried. Is there a reason why people prefer light basses other than having shoulder pain from a heavy instrument?

[quote name='Dad3353' timestamp='1389623124' post='2336197'] This is just as common in almost every career, whatever the profession. I couldn't list all the times that word of mouth, or reputation, have given me the edge over others. Networking works in most industries; the essential difference that one has to be good at your job, just the same..! The 'lucky break', or 'know the right folks' might land a budding pop star in front of a camera, but if he/she doesn't come up with the goods, it won't last. [/quote] The difference is, they virtuoso bedroom player with no networking/friends won't ever have the chance, no matter how good. Getting out gigging and networking is something you can't learn in a practise room. It's just preparation for nailing an opportunity when it arises (usually as a result of knowing the right people)

[quote name='Billy Apple' timestamp='1389623525' post='2336204'] Have you seen the state of the road outside his house? Only BC'ers with 4X4's need apply! [/quote] Haha yeah! Proper northern road. I always park at the end of the street lol.

The thing that always surprises me about the whole meeting up thing is how so many of us pay a visit to see Howard (Bass Doc) yet I've never bumped into another basschatter whilst there! I thought it would be like a hub for meeting other basschatters. Agree with all the comments about how lovely other basschatters are when I've met them. All genuinely lovely guys and girls :-)

[quote name='Dad3353' timestamp='1389565834' post='2335679'] Now this, I would contradict. If you mean by 'career in music', pop star, roaming the world in a jet, you may well be right, but I would maintain that there are far more healthy, satisfying and viable careers to be had in music than that. Teaching, orchestral pit work, studio sessions, sound engineers, producers... The list is long. Pop stars are only a tiny, highly visible, tip of the iceberg. [/quote] The same goes for that kind of work too. The last three bits of pit work ice done have been as a result of the ensemble needing a a bassist and I knew (in this case) the drummer. On paper, a recent music graduate with hours of practice a day should be perfect for the job but I got the call first because firstly I'm capable of doing it (but so are hundreds of bass players in the area) but mainly because I'm friendly with the right people. The reason I got to tour Europe with my last band was because the previous bassist left and i had been good friends with the drummer, so rather than auditioning and seeing lots of other capable bassists and choosing the best, I got a call that was basically '*drummer friend* put in a good word so if you want the job, it's yours'

[quote name='ambient' timestamp='1389564810' post='2335656'] Like we're taught at uni, there's more to a career in music than just playing. You have to have a portfolio approach to it, earning money from teaching, writing/composing, journalism, production work, arranging, live sound, studio engineering, organising gigs or open mic's or jam nights, as well as playing live and doing sessions. You have to be versatile at what you do, and treat things like sight reading and harmony knowledge as a skill, not as the work of the devil. The internet has actually made things easier. I did some sessions on bass, and recorded synths for a band in Bristol before Christmas, without leaving the house. You can teach students via the internet too. Ultimately though, it's all music . [/quote] The most important thing you learn at uni is that your tutors preach this at you and when you leave you'll realise it's all total nonsense because there's only ONE rule that gets you a career in music; It's not what you know, it's who you know I've had friends who could put world famous professionals to shame but live with their parents trying to scrape together a living as a 'professional' musician (one/two functions a week) and I know guys who were nowhere near that standard (one who didn't even ever study music) who is now touring the world playing arenas to thousands, purely down to being friends with the 'right' people. It's entirely down to luck. If you're lucky enough to know the right person at the right time and get dragged along for the ride, good for you but thousands of hours in the practice room isn't going to get you the job, it just makes you ready for it if you're lucky enough to get the chance!

[quote name='cameltoe' timestamp='1389554470' post='2335498'] Can you get the action down nice and low on the NM with the Badass? The one I tried the action was sky-high and there didn't seem to be much room left on the bridge. That's the problem when fender and the like slap these fancy-pants bridges on- they don't usually make any allowances for the fact they sit much higher up on the body. Maybe I had a bad one though- it wasn't overly light either, so it wasn't coming home with me that day. I would like to try a well set up, light example as they are being very well reviewed and they seem to tick all the boxes for me. Might be tempted to change out the SPB3 though. The relic job looked great as far as I was concerned and much better than my Road Worn precision. Subtle and believable wear. [/quote] I had a similar issue with mine regarding the bridge. I felt it was quite high but bought it, gave the neck a good tighten and adjusted the bridge and now it's playing like a dream. I like a RIDICULOUSLY low action on my jazzes and whilst my Mendel has a slightly higher than I'm normally used to, i let a friend play it he other day and he reckons it's too low for him (and he likes a medium action) so it's definitely possible to get it down if you want too. I also agree about the pickups. I've got an Aguilar AG4P-60 on the way to switch as I find the quarter pounder really aggressive and Id prefer a more thumpy, vintage tone so I'm switching it out. The bass itself is lovely though. Finish is superb, plays beautifully, feels comfy and just needs the pickups swapping and it'll be perfect for a super light (.35-.95!!) string jazz bass lover like me!

[quote name='Greggo' timestamp='1389390090' post='2333880'] How much wear is on the Nate Mendel precision? I like the look of them and from the pictures the relicing looks subtle. Am I right in thinking the controls knobs are 'aged'? I do like that particular look rather than shiny knobs! I don't mind subtle relicing on instruments but I personally would not want to buy a new instrument that looked like it was not looked after very well. However I have no issues with dings on guitars when I buy second hand, cause that's a sign they have been well played! Imagine if they did reliced cars brand new! A Ford focus with ripped seats, smokey interior, dings in the bodywork etc.. Is there a market? [/quote] I have a Nate Mendel and the relic job is described as 'light'. It's actually very subtle like you say and yes, the control knobs (and machine heads/hardware) is worn too along with the scratch plate. Stunning bass though!

We have a band leader who books all the gigs, owns all the PA gear/van, pays us (total fee split equally 5 ways between the four of us with the fifth going to a pot that covers communal costs such as insurance, van repairs/running and rehearsals) and most importantly calls the shots! We start with the same two songs and after that we have approx. 50 in the memory banks that can be called upon at any point. Leader is guitarist and lead vocals so more often than not, he'll start the next track by kicking off the vocal/guitar riff and we all come in at the right points. If not, he'll just turn and shout the name of the next song and whoever starts it off just goes for it. Makes us a fluid, reactive ensemble who can adapt what/when we play depending on the audience. Never use a set list as such.

Great mix and from a compositional point of view, it's laid out nicely with some cool musical devices. I am however in the 'not a fan of the rap' category. Just a bit too polite (rhythms and phrasing could've been more interesting and in context with the arrangement) and the tuning is just discomforting. I can't work out if the pitch of the rap is supposed to be atonal/dissonant or is just slightly out of tune and I think that uncertainty makes it difficult to listen to/enjoy. There's 'playing out' and there's just 'out' and (for me) l need the transparency of tonality and it to be clear whether things are intentionally out and that's not there in this, IMO! I think instrumentally though, it's clear that any tension is cleverly explored and creates an intriguing tonality that makes you want to be lead to the conclusion. I'd listen again and look forward to the next one too :-)

[quote name='Spike Vincent' timestamp='1389295123' post='2332572'] Hate them with a passion.It's cheating. Put 30 years of wear and tear on it yourself. [/quote] Having a left-handed bass is cheating! Learn right-handed :-p

I wish my Fender Nate Mendel precision wasn't 'road worn'... I'd rather do it myself but it's the only precision with that neck profile (which i LOVE!) so I went for it. On the plus side, the relicing on the Mendels is VERY light and is pretty hard to spot, so it isn't as extreme as the 'road worn' series instruments or the heavy relic monstrosities on ebay!! On the whole, don't mind if it's only a little bit and a necessary evil (which in my case, it is) but as a concept it's a bit naff... It does make neck playability A LOT nicer when it's worn though ;-)

[quote name='Roland Rock' timestamp='1389166595' post='2330714'] Isn't that what bedrooms and Youtube are for? [/quote] Or chat roulette?

Get on over to the 'aguilar amplification owners' page on Facebook. The Daves from Aguilar regularly comment and help people out and if not, you've got countless users of the same gear who can help/reassure you!

+1 for the TH500. Brilliant head and the next thing on my GAS hit list!