lonestar

[quote name='youngie' post='111817' date='Jan 1 2008, 03:13 PM']just wondered as im in walden too, so you could be the fella who plays the guitar in the flat opposite.[/quote] s'not Me!

[quote name='youngie' post='110960' date='Dec 30 2007, 02:12 PM']lonestar you any kop cocker? if so a few lessons from yourself might be in order stavros. ill pay obviously.[/quote] I've been playing for years now and muddle along quite nicely! I'm not sure that I'm qualified to give anyone paid lessons though really. Happy to advise and help through basschat if I can add to the masses of good info already here. Have you looked in the Tutors database on this esteemed forum?

Notice the Location: Hertfordville! Is that near Manchesterford, Ambridge or Madeupshire? What a lemon

[quote name='simon1964' post='110212' date='Dec 28 2007, 02:04 PM']Surprised Town Called Malice hasn't got a mention so far. Another great line is Oliver's Army by Elvis Costello. I'm not sure who the bassist is, but it really underpins the song. And has By The Way, RHCP been mentioned yet? And another +1 for JJ Burnel[/quote] We cover Oliver'sArmy in my band it's a nice bassline isn't it! The Attractions bass player is Bruce Thomas He's done some cracking bass parts on that whole Armed Forces album. Accidents will happen is one of my faves. a great player IMHO

Nights on broadway by Candi Statton (originally Bee Gees I think. not sure who played bass on it but it sounds very Crusaders'ish. Cheesy song but class playing.

[quote name='Mike' post='105709' date='Dec 18 2007, 08:01 AM']I was just up in Audley End the other day, the house was all decked out for Xmas, lots of seasonal produce etc, lovely stuff. Beautiful part of the world. Nice drive through Finchingfield, Great Bardfield etc.[/quote] It is a nice part of the world to live in. Moved here 18months ago from Cambridge my band mates are based in Chelmsford, Brentwood, Hornchurch and we rehearse in Chelmsford. gigging this Friday in Braintree (morgan owners club Xmas do). I propose that any interested local bassists might like to meet somewhere convenient in the New Year, if not for a bash then a pint and a moan. Mike

+3 +675

I'm in Saffron Walden. That's in Essex. Gigging around Essex and beyond always interested in a bit of depping too! Oops sorry Nig Would be up for an Essex/East Anglia/Cambs? bass bash.

Cor what a bunch of stunners! Ricky-tastic mate!

[quote name='TheRinser' post='104760' date='Dec 15 2007, 08:12 PM']That'd be great Mike! Unless you can scan it in or whatever? Don't want to put you to too much trouble... If you're sure that's cool though I'll PM you my details. Thanks! Tom[/quote] No problem at all. I don't have a scanner so send me you address and I'll post it.

Performing Musician magazine rated it quite well in a recent review. I'll cut it out and post it to you if you want to pm me your address. Mike

Mine has. As do all the non-vintage models. I think???

[quote name='jono b' post='103976' date='Dec 13 2007, 05:38 PM']Just went to get a quote, £81 for a year, includes breakdown cover, in vehicle cover, covered if I'm away from the insured location, EU cover for when my band goes away, no £250 excess AND public liability too. Not bad, methinks [/quote] Go for it. is that with Musicguard?

I use Musicguard. No claims yet thankfully but they seem pretty good. One other important point. If you're gigging it makes sense to also have public liability insurance which is inclued I think. Insurance is very un rock 'n roll I know but if someone was injured at a gig due to you or your gear, eg tripping over a lead and sued it could cost you your house! Plus some booking agents and venues insist on it. To insure about £2k worth of stuff all risks plus PL insurance costs me about £60 a year.

[quote name='wotnwhy' post='103220' date='Dec 12 2007, 01:29 PM']"Though John Entwhistle.... looking a bit rough!" true, but if what i heard was true, he left us doing coke in a hotel room with a hooker in las vegas yes? pretty good going for a man of his age![/quote] I think Roger Daltrey said something along the lines of "It's a death any man could be proud of".

[quote name='P-T-P' post='103160' date='Dec 12 2007, 11:57 AM']As much as I can see where people who think that a metronome can be quite clinical are coming from, I think perhaps, as others have said, it's a case of the metronome not being used correctly that's the problem. The clicks are a reference point. Playing along with a metronome should be about how you fill and/or not fill the spaces between the clicks and how you learn to control where you place your notes in relationship to the beat. It also encourages you to open your ears to and pay attention to another sound source while playing. By gaining control of your internal clock and increasing your ability to hear outside what you are playing, when the time comes to be playing with other musicians, you're going to be better prepared to adapt to the idiosyncrasies of your fellow musician's time-keeping so that the overall output is that little more coherent or that the "locked-in" sensation is reached that much quicker. I have a drummer friend who is a slave to the metronome. He can do amazing things in all sorts of weird time signatures... when playing solo. Put him in a band and he is completely void of feel and speeds up, slows down comepletely randomly because he hasn't go that crutch he's so used to. He is a great example of metronome taken too far. I sat down with him and a metronome clicking 1/4 notes and said, "Can you hear it swinging?" and he looked at me like I had 10 heads. I was talking in conceptual terms of course, but it illustrates the point of using a metronome as a springboard. On the flip side, the guitarist in my band has played for 30 odd years and never rehearsed with a metronome. He will tell you that he listens to the drummer for his time cues. This is a lie. He is in his own little world and doesn't listen to anyone until he notices that something is seriously odd about what's being played and then goes around the houses and finally realises it's him! Unless he is being hit over the head with the beat, he wouldn't have a clue it was there. He also plays way ahead of the beat and just can't adjust from that place at all. He is a nightmare to record. I think if you dismiss the metronome completely you are just making it harder to get to the final goal of a coherent performance. I think if you get four musicians who regularly use the metronome as a guide and then another four who subscribe to the "I have my own sense of time" school of thought and ask each group to put together a performance of the same song, all other things being equal, time and again the metronomophiles will get there quicker. If you asked a guitarist, bassist, singer and pianist to learn a tune they are all familiar with but have never actually worked out, independently of each other and with no score, chord charts, cd etc. for reference - i.e. to work it out by ear - what are the chances that, when you put the four of them together, they'll all start off playing in the same key? We wouldn't dream of being that casual with the melodic quality of the notes we play, why are people content to allow the rhythmic quality to be left entirely to chance?[/quote] I couldn't of put it better or agree more. Thanks PTP

I don't know if this is any help or of interest but I have a '94 twin which melted it's transformer. After replacing a blown fuse at a rehearsal. I noticed a burning smell and looked in the back to see all power amp valves glowing like fluorescent tubes and black molten stuff dripping from the power transformer. It was still under warranty so it went back to Fender (then arbiter in Cricklewood) via Coda music where I bought it who were extremely helpful in chasin Fender. They replaced the transformer and valves. Apparently the transformer fitted in the US was only rated 220v and they upgraded it to 240v. it's been fine ever since. I don't know whereabouts you are but you could try Panic Music near Cambridge. They aren't cheap so get an estimate. you can find them via google I should think.

Very nice. i really like that sound. Is that a metal fretboard?

I really enjoyed this. Great stuff

[quote name='Mikey D' post='98078' date='Dec 3 2007, 01:02 PM']Thelonious Monk!?[/quote] "Talking about music is fishing about architecture". the original quote is by Frank Zappa he also wrote: "Rock journalism is people who can't write, interviewing people who can't talk for people who can't read". What a hero!

[quote name='simon1964' post='97216' date='Dec 1 2007, 01:44 PM']I took the plunge and bought the Jeff Berlin model this morning (essentially the 1x15 combo without the tweeter). First impressions are very very good. And it sounds fantastic - very nice tight sound, especially for a 1x15. Much loader than my 300 watt Ashdown, sounds better, but half the weight![/quote] Brilliant I'm sure you'll enjoy it, especially in the lower back lumbar region. We should all form a Markbass user group!

Schallers for me. I did however have to reduce the screw holes on my jazz to take the skinny schaller screws; matchstick and a bit of wood glue did the trick. Grolsch tip sounds good though!

[url="http://cgi.ebay.co.uk/MarkBass-Mark-Bass-AMP-CMD-121H-400W-RMS-Boxed_W0QQitemZ160184490171QQihZ006QQcategoryZ58719QQssPageNameZWDVWQQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/MarkBass-Mark-Bass-A...1QQcmdZViewItem[/url] Is this of interest to anyone?

It was so long ago I can't remember if it was Money by Pink Floyd or Paranoid by Black Sabbath

[quote name='zero9' post='95061' date='Nov 27 2007, 01:25 PM']Hello, So, you're thinking of buying a Double Bass (DB). I moved from Electric Bass to Electric Upright Bass to Double Bass. Last May I bought a new Stentor Arcadia DB and had it set up by a specialist (new bridge, new post, new strings and action adjusted to my style), total cost about £2k. The DB is made in China and came complete with cover and bow (both reasonable quality). I am extermely happy with the Stentor and it plays and sounds superb. I have never had lessons and found it fairly striaghtforward to get on with the DB. Trust your ears and put in as much practice as you can. You don't necessarily need a teacher (unless you feel this will boost your confidence or your trying to learn proper bowing technique). The important thing is to practice practice practice.... and if that doesn't work, practice some more (read some stuff on Danny Thompson). Good luck with your move to DB. Wil[/quote] ++1 on Danny Thompson he's one of my heroes what a player! Probably the main inspiration for me to get interested in upright bass. can you suggest any further reading?