Paultrader

You must be right about the Jazz on these recordings Hillbilly. I always feel that a Jazz demands to be heard, whereas a P is just 'there' in the mix somehow. Presumably it will have as much to do with the sound engineer and production values, which really seem to give that particular music a distinctive imprint.

And then there was The Doors... How did Ray Manzarek do that - he must have had two brains!

I've got a playlist on my Ipod of 60s and 70s American music. Bands like The Allman Brothers, Little Feat, The Byrds, Crosby Stills Nash and Young, Steve Miller, Canned Heat etc. I love this stuff - I've always thought that the Yanks make amazing music. The tone of the bass, and the placing of it in the mix, fascinates me. It sounds like pure P Bass sound to me; warm, deep and filling out the lower register - quite indistinct at times. Also, full-on playing. I know that recording techniques were different then, but it feels quite different to the British sound of the time which I always think of as edgy and tight (excepting the Entwhistle roar perhaps). What do you all think - does anyone else share my love of this particular sound? In both my bands, the others are always asking for 'more treble', consequently the Jazz is my first bass for gigging because it has that grunt and edge, but last night I took my 76 P bass to the practice, and the tone filled out the sound as only a P can - magic! Cheers, Paul

Welcome Faye - joined a month ago and can't resist this forum. Nice people!

This is a VERY important thread. What's the point in us shelling out money each year for peace of mind, if the canny insurance companies are burying a get-out clause in the small print? It should be made very clear exactly what proof ownership they want. Will get a photo of me with serial numbers taken as soon as possible for my two basses, both were bought secondhand years ago.

I go stage right between the drums and guitarist with the keyboard beyond that. The left of the stage is taken up with the four piece brass section (it's a soul band). I often stand forward next to the singer as the guitarist tends to want to hang around at the back. There are times, though, when I want to see the bass drum pedal. You could almost say that we are divided on each side between rock 'n' rollers and classical boys. We tease the brass about always needing notes, even after fifteen years. We learnt a new song once and they wrote it out in red biro. When the lights were switched to red all the music disappeared - much mockery from the rhythm section!

I use Musicguard too. You have an option which makes it cheaper if you take less than half the value of your total insured amount out of the house, which seems like a good idea. Also, I like the public liability bit, especially since we once set fire to the curtains at a masonic hall with our lights. Do we know that Musicguard doesn't require proof of purchase as well? I hope not - surely, being specifically for musicians, these folks know that lots of informal trading goes on.

First Bass Owned: Framus Star Bass 'Go To' Bass: Fender Jazz 'Your' Bass: Fender Precision

Welcome aboard - I'm in Eynsham. This is a friendly forum; I can't resist checking in regularly.

Welcome to Basschat, Baz. Be careful - it's addictive!

So long Jet. He had a special place in British pop history. His Precision bass must have been one of the first in the UK.

Here's Walter Becker on bass. And they're risking a tambourine too! [url="http://www.youtube.com/watch?v=wsrI_mIT6PQ"]http://www.youtube.com/watch?v=wsrI_mIT6PQ[/url]

I remember an old saying about where you 'connect' to when playing different instruments; with guitarists it's their heads, with drummers it's their arses, and with bassists it's their balls (not sure about the ladies on this one). For some odd reason I can see what it means, and I know what I like to connect to most. The thing about bass playing is that, stereotypically, along with the drummer you sacrifice your ego to bed down the sound for everyone else, and that often requires being tastefully repetitive. If a guitarist can think like that, they'll do OK on bass. I marvel at those bass players, often in metal bands, who spend the whole evening thumping away at single note runs, then, when given their four bar solo at the end of the evening, produce something utterly amazing. Playing bass is a state of mind - if you've got it, it's the best place in the band.

Hello Sixshooter. We were interlopers from East Grinstead! We were probably attempting to play Hendrix at the time.

I Want You Back by The Jackson 5 I have a playlist of bass tunes to learn on the ipod, and this was next in line - it's a real stonker.

Those were my black loon pants - I loved them. I think I actually bought them pre-decimalisation for 13/6 so this may have been Summer '71 in fact. The thinnest cotton, no pockets and very sexy at the time. I think it's time we re-assessed the seventies; I had a wonderful time!

That's it. Cool! Thanks Ou7shined. I've always turned up lots of different looking Star Basses, but never one with a Les Paul shape.

Hi Everyone, Here is a picture of me playing my first bass at Crawley Bandstand in about 1972. I bought it for a fiver and it lasted me quite well. It was a Framus, I thought it was a Star Bass but it can't have been. I've never seen one since or found a photo anywhere of such an instrument. Has anyone ever come across one of these? Note the home made control plate - the original chrome one kept falling off because the screw holes wore out and it was sellotaped on for a time till I made a new wooden one. Those were the days! The amp was an Impact 60 and the speaker cabinet homemade with a Goodman's 18" speaker in it. [attachment=74935:Crawley_...stand_72.jpg]

Did a first gig with my new TC Electronic Classic 450 amp last night, coupled with an RS 210 cab. I have also bought the RS 212 cab but didn't take it because this was a small gig. Quite a lot to shell out but its my first new gear for thirteen years, and I gig regularly, so I felt I deserved the indulgence. I have used a Trace Elliot 300 watt 15" combo for years, coupled with a Trace 2 x 10 cab. The Trace sound was awesome, and it was loud, but it was all so heavy that it was just getting me down. The TC Electronic gear is beautifully light. Coupled with my Fender Jazz, the whole outfit looks gorgeous. Obviously, being a first try out I had to spend some time getting the sound I wanted, which for this band is a deep thump coupled with a strong treble to cut through. The amp is very easy to manage; it hasn't got too many controls. I found the four tone settings responsive and simple to play around with. I tend to get the sound I want and leave it at that, and the controls on this amp are fine for this approach. Initially, the response felt very different to the Trace sound, but it didn't take long to get used to it. This rig is incredibly loud for its size, and has plenty of grunt. The deep tones are strong and clean, but the Tubetone control adds that classic sixties bass sound if you want it. Initially I added some compression, but I found I preferred it shut down completely. The sound overall is warm, rich, and seems to accentuate sustain. There is a very good balance across the frequency range. This set up has a powerful, warm tone and I love it. I really can't believe how much volume is produced by such a small, light rig. I can definitely recommend it. Can't wait for the next opportunity to play live, and a gig with my soul band next month when I can add the RS 212 and really shift some air! Paul

Hi, A new member (faiz0802) has recommended books for practising sightreading on bass guitar. They are 'Essential Sightreading Studies for Electric Bass' Volumes 1-3 by David Motto. Unfortunately it looks like they can only be sourced in the USA. I wondered if anyone had copies they didn't want and would consider selling? Cheers, Paul

Thanks for the advice about sight reading. I looked up 'Essential Sightreading Studies for Electric Bass' on the web and it only eems to be available inthe USA now. I think I'll put out a request on Basschat to see if anyone has old copies they would consider selling. Paul

Welcome Faiz. Out of interest, what are you using to develop your sight reading - any book recommendations?

I play in a barn dance band with accordion, fiddle and acoustic guitar. I see it as my role to bed down the rhythm for the dancers to latch onto, so I've developed a fairly percussive staccato finger style, and play with more treble on the tone than I do in the soul band so that it cuts through. I use lots of roots and fifths, but also throw in the odd run now and again to keep myself awake. It's good fun - it's like being invited to someones party - getting to play and not having to dance, then getting paid at the end of the evening!

An early two colour sunburst Precision, probably 62ish. I swapped it for a Fender Mustang - was naive and didn't know what I was doing - what a plonker! A '79 Tobacco Sunburst Telecaster - a heavy old thing but I loved it and gigged it a lot in the eighties in my rhythm guitar playing days. Luckily I sold it to a friend and five years later managed to swap it back for a Strat, so I got it back!