Paultrader

[attachment=176053:Bass Set Up.jpg] It was raining on Saturday so what better than to get everything out, set it up in the front room, photograph it and then play around with Photoshop for a couple of hours! By the way, I make no claims to be a decent photographer. The Precison is a 76, and the Jazz is an early 90s USA 62 Reissue. I've changed the control plate to a standard configuration, but it's a complete control plate switch and only a matter of soldering a couple of wires to put the stack knobs back. I did this to cure me of some serious GAS hankering after a new USA Standard Jazz (Olympic white for me!) and doing this cost me £50 instead of £1100 - which I don't have. It's working so far. I can't decide which way is better, but the standard configuration is more attractive to my eye, so it'll stay for a bit. I bought the Squier CV 50s Precision recently off Gary Mac as a gigging back up, and love it - one sound (Seymour Duncan antique pup), but a great one, and fantastic for the price. As to the TC Electronic rig, it's good. I usually take the 2 x 12 out for pub rock 'n' roll gigs, and the 2 x 10 for barn dance gigs. Both together are pretty loud. My sound of choice is Trace Elliot, and always will be - I used them for years, but I'm 60 next year, and the thought of lugging 80lb+ of amp up a frosty front path at 1.00 am on a February morning seems to me like asking for trouble, so I've compromised with lighter stuff. It's not the same, but it's perfectly OK. With the Classic 450, I'm still working out the best way to set up the controls. At the moment I'm backing off the gain to a little further below the peak. I don't use the compressor or tubetone, which is not 'my' sound. Hi-mid is also set lower than the others, but that probably relates to my bass more than anything. Cheers, Paul

https://www.youtube.com/watch?v=hYKYka-PNt0 I reckon this one's hard to beat

Welcome to bass playing and Basschat Steve. Forget Facebook - this is the friendly place. Paul

Thanks Gary for being really helpful and straightforward over the Squier Precision bass deal - it arrived this morning well packed and just as described - perfect as a stage back-up bass. Arrangements were all friendly and you kept me informed about the postage and payment etc. So, I can recommend you to any other Basschatters when it comes to buying and selling! I also read on here that you do a good cup of tea - what a pity I live a little far away as I'm always up for a cuppa and a chat about all things low-end! Cheers, Paul

I adore my 76 Fender P because I bought it in 1980 and it has been my constant companion for just about 35 years. I stopped taking it to gigs for a time because I thought I didn't want it to get any more damaged, or nicked - but then I asked myself who it's actually for - what's the point of keeping it in the cupboard? It sounds gorgeous, plays like a dream and feels like part of me. When I bought it, it cost a fair chunk of my income, but it's monetary value now is only of any significance if it stays in the cupboard. These old instruments are wonderful, but they should be played, not mothballed. In the classical world, instruments of much greater age and greater frailty are being gigged constantly. And if the house catches fire...

I can only agree with all the rest. When I bought my first bass guitar in 1970 it had [u]everything[/u] to do with Cream and Jack Bruce. I remember seeing the Jack Bruce Band at a free gig in Hyde Park in the early 70s - I'm sure the sun was shining. Thanks for tons of inspiration Jack.

Me too - I ordered two sets of string from them mid-afternoon on Wednesday and they arrived on Thursday morning post free. That's good service in my book.

So far I've chosen Handel - Bourree from the Suzuki book, Spohr - Allegro from Time Pieces 2 Shitte - Etude from the Yorke Mini Bass book, and Ray Henderson - Black Bottom from Time Pieces 2. For some reason, I'll probably do the first three and leave the last one. I've recently changed teachers; the last one was excellent, but my new teacher has pointed out some very bad habits with my left hand technique, and I'm trying to re-learn, it's a real struggle! She's right though, and I've just got to keep at it. I think you're absolutely right to keep playing other stuff as well, I remember getting completely bogged down with the Grade 3 pieces. I do have a dream of getting to Grade 8, but sometimes it seems like a very very long way away! Paul

I'm just starting to learn the pieces with the aim of doing Grade 5 next spring - is anyone else out there jumping on this band wagon? It would be good to discuss pieces, swap experiences and share frustrations, etc. I remember when working for Grade 3, there were times when I seemed to make no progress at all, and thought that I'd never get there, then I'd make a sudden leap. The two things I know about learning a musical instrument; it's never easy and it never ends. And all this alongside playing electric bass in a rock 'n' roll band... Cheers, Paul

I've never seen [color=#282828][font=helvetica, arial, sans-serif]Nittin Sawhney but have some of his CDs and I have a huge regard for him, his musical integrity and inventiveness. I wish I'd known about that gig! My wife (who went to uni in Leeds and thinks it's a fantastic place) once went to a talk by him about his life and music, and said it was really fascinating.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]And as a Londoner (although I don't live there now), it's nice to hear good things about the old place - I've just got used to hearing it slagged off over the years. So thank you for that fumps.[/font][/color]

Lucky Jim gets my vote every time.

Welcome to Basschat, I play in a 50s/60s band too. We do two Cliff songs and likewise we're not sure how long we'll be able to play them. It's a shame because 'Move It' is such a stonkingly good rocker! I used to live in Enfield in the 80s, and played in a similar style band, but on rhythm guitar/backing vocals. We played around all the British Legions and social clubs in the area - it was good fun. Paul

Thanks for bringing Family back into my mind. I saw them at Fairfield Halls in Croydon in the early 70s - brilliant; chaotic, loud and memorable. [size=4]And Bandstand - Burlesque is a total original![/size] [size=4]And now I've spent the morning trying to play 'My Friend the Sun' on my acoustic...[/size]

I'm also really interested in '64 Reissue in comparison to the new American Standard Jazz, which I've heard is fantastic.

I tried a Fender Coronado bass (30in scale) in a shop recently and loved it - fantastic tone range and great fun to play. I thought the transfer to a shorter scale was no problem at all, and it must surely make a difference with finger stretch. The Fender Mustang and the old Gibson EBs are lovely basses. Go for it, I say!

Thanks for the kind comments. Yes, I think I am an old hippy really, and I can't resist an invitation to play so I've ended up playing some pretty odd gigs over the years. [size=4]Let's face it, bass is best. I wouldn't swap with the lead guitarist - all those tortured expressions! [/size]

OK, I had fun with this. This is me over the years. [attachment=168543:Bass 70 - 90.jpg] Picture left; in the early 70s playing rock at Crawley Bandstand with my first Framus bass. Centre; playing rhythm guitar (my late 70s Tele) in a rock 'n' roll band in the early 80s, Right; playing my USA '62 reissue Jazz (still my gigging bass) in a soul band - Commitments/Blues Brothers/Stax etc. I was with this band, The Soul Traders for about 18 years. [attachment=168544:bass - 20.jpg] This second photo is where I am now, all taken this year. Picture left; playing jigs and reels in a barn dance band (been doing this for 25 years, by far the best money maker!). Centre; with my rock 'n' roll band, Bluestreak. Right; playing jazz standards on my DB, on which I'm currently working to take Grade 5 at the end of the year. I've been playing bass for 45 years, almost constantly gigging in amateur bands. I never became famous, but had a whole bundle of fun and made lots of friends - brilliant! Paul

[quote name='PaulWarning' timestamp='1405956028' post='2506900'] all good advice, except what's all this locking into the bass drum? very old school [/quote] I lock in with drums, drummer smiles, band sounds good. (Drummer provides rehearsal space, lends me his bass amp at practices, always has a beer in the fridge, is all round nice guy - the result is happiness all round!)

The truth is, I don't play it all that much. At the moment I've got round wounds on, but like you I worry about the fingerboard. I'm not sure that I've ever got the sound I really want. You've probably got nearer to what I hear in my head - I'll try some flat wounds. I think that a fretless bass needs to be significantly different to a fretted bass, so a woody sound would offer a good contrast. It's a great bass for the price, and I love the clean fingerboard without lines, makes it more of a challenge. I keep going back to the fretted Fenders though. Paul

Forget about having an ego - remind yourself regularly that you are there to make the others sound good. So, concentrate on your job of keeping the groove and tucking in with the drums. For me, the satisfaction comes from being a good bass player, not being flash. The result of this will be that you get lots of gigs and are popular with the other musicians. A young bass player said to me, not so long ago, that he wasn't going to play like me, he was going to play 'more complicated, more like lead bass.' He's still playing in his bedroom - I'm out gigging most weeks. One band I regularly play with used to call their ex-bassist Marco Polo, because ' he didn't where he was, didn't know where he'd been, and didn't know where he was going'. And I always remember that I used to enjoy going along to see Rory Gallagher when Gerry McAvoy was his bass player. He'd play solid straightforward bass all night and then he'd have a short spot and play a blistering jaw-dropping solo. That's what it's all about!.

I joined a band in January playing 50s/early 60s stuff and I had to learn this song and sing unison vocals with the singer. I had to work and work at it but getting it sorted is one of the most satisfying things I've ever achieved on the bass, I play it simple with a pick, two beats on the fifth and it's fine. Now I've found that I can sing and play bass with confidence - we're learning Please Please Me and I'm singing the one-note harmonies. The buzz I get from singing and playing at the same time compensates for some of the relatively simple basslines you have to play in this type of music (not counting Macca's basslines of course). It's fantastic when we get rocking and seeing a crowd singing along and dancing to 'La Bamba' or 'Oh Boy'? Macca is amazing; singing lead and playing good solid, interesting bass. Other bassists may be technically brilliant, but in my view no-one has his all round talent as musician, writer and performer. 'I Saw Her Standing There' - what a way to announce your arrival with the first track on your first album, 'One, two, three, FOUR...'!

Here's my list - all 4 string. I still own the ones underlined: Framus Star Bass; bought for a fiver in 1970 and so old that the control plate was sellotaped on. Long gone. Watkins Sapphire Bass; looked the part but had a very heavy headstock. Long gone. Fender Precision Bass; bought in 1973 and probably early 60's. Why oh why did I sell it in 1980?! [u]Fender Precision Bass[/u]; bought in 1979 and still owned. It's a '76 and is my pride and joy. It's always out in the front room but I don't gig it much anymore. Bass Collection 301 defretted; bought in the 80's some time. A good bass, and pretty, but I just didn't get on with it so it was sold. [u]Fender USA '62 Reissue Jazz[/u]; early '90s. Bought in 1996 and my gigging bass ever since. In my opinion this is the finest bass ever made. [u]Dean Edge Fretless[/u]; bought in late 90s and fun to play with. Fender Japanese 51 Reissue Precision Bass; a fantastic bass with a gorgeous tone, but I didn't have a context for playing it then, so sold it with some regret since. Here's my problem - I can't stop looking at basses on line, but why do I want to own another one when I feel strongly that instruments owned should be played? I'm looking at the new USA Standard Jazz, or, and I'm seriously struggling with this, the USA '64 Reissue Jazz in Lake Placid Blue (I'm dribbling as I write it). How can I face these evil desires down? I play in a 50s/early 60s band and I think the dampened bridge would give me a good sound. Has anyone played one or got one and could comment? I have a big birthday coming up next year which isn't helping.

Not my first bass, but my third one (First was a Framus Star bass, second was a Watkins Sapphire). It was a Fender Precision, two colour sunburst and probably very old, but I didn't know about those things at the time in 1980, I'd had it since 1972 and it was old then. There was one weird thing about it though, which I've never figured out - it had the word 'Precision' on the headstock removed. I'm convinced it was the real deal though. Anyone got any ideas?