KK Jale

[quote name='seashell' timestamp='1333544836' post='1603265'] I feel your pain. I am new to this bass playing lark, and I am beginning to realise I have a LOT of things to learn. The above being one of them. [/quote] I may be guilty of over-simplification when it comes to singers always being right... To be semi-serious (only for a second, honest) I see the job as linking the singer with the drummer. That's it. In terms of tempo I'm always fighting on the drummer's side, but the singer can do anything: sing two verses, add a chorus, be late into a verse, go round again... and if I miss it, that's my fault. Gotta be on that sh*t in a nanosecond. (Soloists usually get the same luxury treatment, but we have a sax player who's the butt of all jokes, and when he jumps in early we all have a special look which means "Stick to it.... f*** 'im." ) But as for the singer, if there's a good song that he wants done a certain way or else he probably won't do it, then I guess I have to go along with it. I can still bitch about it on here though. God bless this forum *sheds a tiny tear*

At a recent gig, the singer called Inner City Blues. We'd never done it before but it had been on the setlist when I joined, so whoopee. It went like a train (our drummer is fabulous). Next gig: Singer: You know Inner City Blues... I'm not sure the bass goes like that. It's five notes... then five more... and it ends on the C. [We play it in A]. Me: Erm, I know what you mean. It actually varies a lot, it's an unbelieveable bassline, but mostly it ends on the root. Nearly always, in fact. There's a couple of places it does end on the third, though. I think I did a few last time. Singer. Well... it just feels better ending on the C, to me. Oh, and there's one thing you do and it kind of sticks out and it sort of puts me off. Me: Oh, which bit? Singer: it goes dur-dur-dur-dur-dur... and then you do that funny bit. Me: Okay. The way I see it, if you strip it down, it's basically those two five-note runs, but there are those little links in between. The first link is pushed, the second link is late but straight. [demonstrates] Singer; Oh. Well do you think you could sort of not do it? Me: Thinks... **Listen mate, you're the one who changes the chords on f***ing Dylan songs, and you can't play a f***ing barre B minor, and you have obviously never listened to this song in 20 years, and it's one of the greatest-ever basslines, and you want me to SORT OF NOT DO IT???** **thinks some more: the singer is always right, the singer is always right, the singer is always right, the singer is always right...* Me. Oh, okay. Weak, I am. Weak.

One came through Guitarist mag when I worked there. Wish I could remember who the owner was. This was about 1990 or so. We did a photo spread on it but i think I lost that issue... I lobbed most of them. Damn nice bass.

Really sad about this. A few years ago, a mate called and said ‘Michael Davis is in town, he needs a spare bass. Take him yours, you'll have a good time.’ So I went along to John Henry studios and met Michael and the MC5 (okay, the MC3 by this time really), all rehearsing for a gig at the 100 Club with Lemmy, Dave Vanian, and other guests. They were nice: I'm met Kramer before. Then I got the bass out, and Michael didn't know or care that it was a Squier JV. All he knew was that it was a sunburst Precision with a tortie guard. He goes 'Wow, man, Jamerson! That's amazing!' And he was running around to all the band saying 'Look! Just like James Jamerson!!' So I sat in a corner and listened to the rehearsal, and later on Michael's wife ghosted me into the gig, and it was bonkers. And Michael used the bass for the encore, probably just to make me happy, and he was such a sweet, cool guy, and I'm so sad to hear that he's gone….

I vote other. Keep the P500H for now. Flog the cab and get a Barefaced Super Twelve. The grin on your face will be indelible.

Top money for a '70s LP Deluxe would surely be no more than £3k, mint… and the article says this one arrived 'covered with plastic triangles'. Personally, I think all Deluxes should be turned into tasteless, useless wall-hangers. Top work, sir.

...the breakdowns... the swivel-eyed punters... the daft blonde with the cigarette ash trick... plus clowns, lethal paraffin heaters, elastic bands, Cock Boy and, for some reason, flashbacks to an incident at the age of six. Written by genius keyboard player Garry. Warning: long story. Hope you enjoy... http://www.facebook.com/permalink.php?story_fbid=367814539913548&id=180029812025356

Happy to join in... 1982 Squier '62 Precision, serial JV20xxx. Jason Lollar pickup. I was living in Cambridge and got a call for a last-minute dep the same night. Lacking a bass, I wandered into the local shop with fingers crossed and found this. I traded them an indifferent Tokai Strat I'd bought for £80. The gig paid £100! 1982 Squier '57 Precision, serial JV15xxx. Aftermarket anodised guard. Found in a shop in Croydon for £200. I once had another of these but it was heavy and had neck issues, so it went. This one is ridiculously light and super loud.

Lovely. I bitterly regret the Fender-logo J I hesitated on years ago. Did these two come with factory covers and fingerrests? Sorry if this has been asked before.

[quote name='Musky' timestamp='1325951256' post='1490283'] Hmm... It's either one or the other. [/quote] I think the seller's referring to the oft-held belief that early Squiers came with USA pickups as standard, but in fact this now seems to only be true of some JV Squier Strats. Nice bass. Silly price. You're pretty much into used CS money there.

Nope... sorry 'bout that The GE was a definite improvement... mind you, lately I've been using a Headway EDB-1 for added EQ as well.

[quote name='AttitudeCastle' timestamp='1324229525' post='1472075'] I really want someone to try a GE 5751 in an Orange Terror bass (i know it kind of defeats the purpose but still!) and to report back! [/quote] Can't help exactly but I have a GE 12AX7 in the V1 position in my Terror Bass and it's harder to drive (Gain is now on 3 or 4 as opposed to 1 or 2), clear, more detailed and more 3D, slightly more treble extension, and generally tip-top throughout

Yep! Excellent decision.

^Well, they used to be MORE than acceptable. Tons of pros used Squiers in the '80s. A really well-sorted Squier/Tokai was an inverse badge of pride... a kind of "my other bass is pre-CBS but I'm on tour with this and doesn't it sound fecking great" kind of label. It's always sad finding a badly re-logo'ed Squier. People should have more confidence in their playing. Label consciousness is for amateurs. #justsayin'

You're welcome. Another schematic basis for a DI mod to run by him might be the OCL/Runoffgroove Flipster... (Humungous TB thread, link to schematic in first post: http://www.talkbass.com/forum/f36/ampeg-fliptop-stompbox-flipster-349921/ )

Have you heard of the Made By Mike SFT clone? He might be able to do a custom w/DI. I've never tried one, but I'd be interested to hear any reports...

Result

About 1975, at a school fete. I was playing a borrowed (real) Jazz Bass that belonged to our music teacher, the great Glenn Tommy, later of Crescent Studios, who inspired about 50 bands in his time (including probably Tears for Fears) simply by accidentally leaving his bass, a Rogers drum kit and a Yamaha SG2000 lying around. We had a drummer, a super pianist who teaches music today, and my mate Sam on his Watkins Rapier. I may possibly have sung, and I can't remember any of the songs apart from Substitute and a jam on Sunshine Of Your Love. For me it was a rare ray of light at a terrible school. I have nothing else to report except that Bill Bailey was in the year below me, and his name's not Bill.

I wouldn't take an amp out of the box and gig it without switching it on and burning it in for 30 mins, no matter if it was a cheapie I was lucky enough to nab at trade price or a £2000 custom handmade job. #justsayin'

^ +1 Orange were incredibly helpful to me when I injured my brand new TB500 through a combination of rank stupidity and laughable clumsiness. In fact they went way beyond the call of duty... and it sounds like you've received the same treatment. Good people.

Great coverage Tim... when Pete's other life leaks into his songs, it's pretty special... I did some NGO stuff in the former Yugoslavia when that was all kicking off so maybe I've got an inkling on how it can affect your outlook and how hard it can be to put all that into music in an honest way... hope to see you playing soon.

I bought one from Peter Cook's a while ago for a friend, and I think the price was £230. I think they're excellent, if perhaps a touch heavy. The shop was very good in letting me try three at length before finally choosing the one with the most ugly body grain but most even-sounding fingerboard up the neck (the fingerboards are ebonol, not wood). Overall, I think they're a fine cheapo Jaco. Check out the Vintage Icon VJ96MR, too...

All of the above... good advice. Also... the fact that they're mates, and have imposed what sounds like a pretty unrealistic schedule, should NOT affect the care you take in your own work. I too would insist to be allowed to do re-takes or drop-ins on track 1 until I was totally happy before moving on to track 2, and so on. If it takes all day to do two songs, hey, that's what it takes. You're working for free, therefore in lieu of payment you should be given the right to do a decent job in a time that suits you... or it ain't worth it. Did a similar thing last month on a friend's album. I was asked to play pedal steel guitar on four songs, and despite the fact I've only been playing steel a relatively short time (in pedal steel world) and have already managed to find the time to get somewhat out of practice, we managed it... in five hours. He would have been perfectly happy with all the first takes. I was not. Get proud, and insist. Oh, and have fun.

This vid won't surprise him. Apparently a looter got trapped downstairs at Rockbottom (with buildings on each side on fire). Owner Carl was outside and eventually persuaded police to let him go in and get the guy. So he literally walked in WHILE dozens were in the act of looting his shop, got the guy, then walked back out again. Word is the insurance is OK. Hope they can get back on their feet.