borntohang

As a member of a band who also wear ridiculous costumes I'm with Rammstein on this one. I always think of it as a bit like wearing a tuxedo - it feels great when you put it on in your room, and it'll feel great again when you're at the event, but you tend to feel a bit of tit wearing it on the bus there.

I changed one but only because I snapped the tuner stalk off - it's so light it gets chucked around a lot! There's actually a mod developed in that thread using cheap rare earth magnets to improve the output of the J pickup, which is apparently a vast difference and only costs a few quid.

Not to invoke damned names or anything, but there's an excellent and huge thread over at TB regarding the Jaguar SS. I believe it's actually onto it's third incarnation because of post limits. The most common mods are a heavier bridge to add a bit more sustain, an upgraded J pickup as the stock one is regarded as pretty weak, and lighter tuners to prevent neckdive. Personally I've done a lot of work to my JSS - not all of it useful. I changed the bridge out for a Wilkinson hi-mass ,which is a nice quality bridge but I can't say I noticed a huge amount of difference. I got another Wilkinson J pickup to replace the stock and that did make a difference. Great sounding pickup for not a lot of money. The stock P is generally well regarded and I really like it so haven't touched that. I've also done a lot of wiring mods which are mostly for my own amusement, although not as many as some of the posters in that thread (I think it's AltGrendel who turned his into an active true stereo monster...). The easiest mod with the biggest difference, as with any short-scale bass, is to put some higher gauge strings on. I've been using .105's and it vastly improved the response, sound, and feel across the board. They're neat little basses and I've used mine for all kinds of stuff. Get a lot of comments about how surprised people are when I get up with this toy-looking thing and then this roar comes out. Originally I just wanted a cheap bass that wouldn't aggravate my tendonitis like a full-scale but I've come to really appreciate it. I have a friend who is a serious session player and ended up picking one up to replace his vintage Musicmaster that had got too fragile for the road, so there's at least one pro out there using them too.

Hah, my dad pulled this one back in the seventies. Folk club with his trad trio and all stand for the anthem at the end; two bars in and the entire place bang their pints down in unison. "Not that one. The other one." I've had three gigs in a row now where I've had strap failures with the buttons stripping out even after a progressively complicated series of repairs: matchstick, wood glue, fill and drill. There's more duct tape on my Jag than finish at this point, but I've finally dowelled and redrilled for massive bolt looking things so hopefully that should sort it.

I'm not a massive drop-tuning fan on bass, although I don't mind it on guitar. At the start of this project the singer decided to tune to Eb standard, but between the increased low end on the guitar and the tonal changes to the bass I was having trouble cutting through. Now I tune G#C#F#B a fourth up just to be awkward; definitely cuts through! I've got a spare bass in Eb for recording and found 115s solved most of the tension issues if not the sound.

[quote name='Barking Spiders' timestamp='1509452391' post='3398992'] The intention behind this thread wasn't to slag off AC and others but find out if they're genuinely able to play stuff that's more demanding than their day jobs require.. [/quote] I would imagine so. AC still gets paid the same as the rest of the band for banging out his root 8ths, and honestly in his position I wouldn't feel the need to prove anything to anyone. "Oh dear, oh dear, oh dear; the world thinks I am a terrible bass player. Please excuse me while I retire to my mansion and sulk about it, in my swimming pool full of money and supermodels."

[quote name='Mellowman' timestamp='1508511073' post='3392699'] I live about 500 yards from the Robin 2. Done it many times, you booked in there again any time soon? [/quote] Not at the moment but our booking guy seems to be well known there and we enjoyed the last one, so I'm sure we'll be dropping through again at some point.

[quote name='Beedster' timestamp='1508509933' post='3392686'] Love it, great stuff, I will catch you live one day for sure, even if I have to get to Leeds. And of course, 'We Are Not Devo' is the only name a self respecting Devo tribute could use [/quote] I lobbied hard for Oh No! It's Not Devo but was overruled. People have no taste.

[quote name='Beedster' timestamp='1508499322' post='3392597'] It reassures me hugely that a DEVO tribute act not only exists, but thrives. The world can't be all bad after all [/quote] Hah. All I'll say is that I'm glad we aren't doing it for the money, but it definitely beats my other other day job playing in tapas restaurants. I'm amazed at how well it goes down - lots of people turning up in costume and regulars travelling around the country to see us. I think the record is Leeds to London at the moment, bless him. For those who are interested: [url="http://youtu.be/XtX3sGeBrSA"]http://youtu.be/XtX3sGeBrSA[/url]

[quote name='Beedster' timestamp='1508493753' post='3392530'] Absolutely brilliant. Do you do weddings? [/quote] We've never been asked, but yes we totally would! Think the nearest show we've got planned at the moment is Brighton, we're mostly 'oop north. We're at [url="http://facebook.com/wearenotdevo"]facebook.com/wearenotdevo[/url] either way.

[quote name='Beedster' timestamp='1508488621' post='3392493'] Made my day Would love to see you lot at my local on a Friday night, do you dress up also? [/quote] Pssh 'do we dress up'? This isn't amateur hour, spud.

[quote name='Beedster' timestamp='1507581240' post='3386575'] Would love to play in a BBD act but can't imagine it would pull in many punters? Having said that, a mate of mine a few years back suggested a DEVO tribute act [/quote] Can report from personal experience the DEVO tribute is a better runner than you might expect. On the other hand, we don't need the competition so actually it's a terrible gig and you shouldn't even think about it! The BBD tribute have been advertising for members for about 5 years now - I think it's one guy doing a pet project that he's trying to get off the ground.

[quote name='Sibob' timestamp='1506890881' post='3381872'] They were 6ers actually, can be seen here: [url="http://www.shukerguitars.co.uk/pwatson.html"]http://www.shukergui...uk/pwatson.html[/url] Si [/quote] Ah man, I've played with that guy before in days gone past. He brought a lot of kit for a small venue and had both of them out onstage IIRC. Regarding low tuned Rics - one thing to remember is the propensity for tail lift with high-tension strings. I assume with the right gauges it wouldn't be an issue, but at the very least I'd be cautious about converting one with the vintage truss-rods.

Play in the Sheffield one at least one a month. Sound system is rudimentary but adequate and the staff are all great; pay is OK but we're only a duo. I'm under the impression they're a franchise so if you're having problems it might depend on how good the manager is at your place.

[quote name='cheddatom' timestamp='1496312821' post='3310391'] interesting, thanks! I've heard "comping" a lot in studios, meaning to compile a performance out of several slices of audio, or to compile a "doubled vocal" from two or more takes etc. [/quote] That's the context you'll mostly hear it used in these days, but comping is long-established jazz terminology. I'd actually never connected the dots to 'complementing' before Jaywalker explained it and had just assumed it was a generic word that had been used to describe tasteful accompaniment in a jazz combo. Either that or it was onomatopoeia derived from hack guitarists plugging away at four to a bar jazz chords... comp comp comp comp comp comp comp comp

TMB-30 or Squier Jaguar SS are both really solid for the price. I've been beating the proverbial horse about my SS for months now anyway, but a mate who is a professional session player on the folk scene just picked one up and we got chatting about how good they are, and not just in terms of cheap basses. I've done a few mods but they're seriously great straight out of the box.

[quote name='Jow Bass' timestamp='1477336550' post='3161563'] Other colours are now available! [/quote] If you did a short scale in black w/ matching headstock I'd bite! Two pickups would be nice too, but that's a decent modding platform at least.

[quote name='darkandrew' timestamp='1477423234' post='3162172'] Sorry - I'd jumped to the conclusion, maybe incorrectly then, that the non-locking trem on the Squier version was causing the intonation issues (apparently the Fender version has a locking trem). If the Squire VM models are pretty much the same as the full Fender then I think I'll definitely be looking out for one. What do you think of this? It appears to be a Bass VI by another name, with a fixed bridge and Jazz Master pickups: [url="http://www.richtonemusic.co.uk/products/fender_vintage_mod_baritone_jazzmaster_antigua.asp?gclid=CMqRmZTY9s8CFcRAGwodsH4Ejw"]http://www.richtonem...CFcRAGwodsH4Ejw[/url] By the way, are any Squiers still made in Korea or are they all made elsewhere now and how do they compare with, say, a MIM Fender? Thanks again for your thoughts. [/quote] The problem with the VI bridge is lack of travel for intonation which, as BigRedX mentioned, can be solved by upgrading to the Staytrem bridge. I had one of the Baritone JMs for a while and planned to change it to a VI but found the holes in the bridge were too small to work with the VI strings without modification, so be aware that might be an issue. It was pretty good as a baritone but I found I wasn't using it at all so moved it on. I really like all the current Squier gear (apart from the Bullets and Affinitys) to be honest. The Classic Vibe and Vintage Modified series are really great value for money and miles above any of the budget ranges the other big manufacturers offer. They've clearly put a lot of research into designing them and getting them to a decent budget.

[quote name='ambient' timestamp='1476456590' post='3154520'] I went to Cleethorpe once as a child. The sea was there when we arrived, we went and had something to eat, maybe taking 30 minutes or so, came out and the sea had vanished ! [/quote] In fairness, it has some lovely mudflats...

Could be worse, could be Cleethorpes. A seaside town which only has the sea for two hours a day and whose motto translates as "Sometimes Better Than Dying". And lies. Had some grim times in Northern seaside towns, bless em all. Back in the eighties my dad spent one January in Blackpool on a training course with no car; by the second weekend he was reduced to trying to buy a lad's bike off him so he could cycle down to Liverpool for a night.

[quote name='Cato' timestamp='1476188194' post='3152069'] I'm sure there are various agents and record company reps who lobby & pitch to get their 'artists' a slot on Later. I'd be very surprised if any money changes hands, I doubt the BBC would want to risk the scandal. [/quote] Yeah, it is what it is. Jools is playing to a certain market and rock and metal just isn't a big feature of that demographic right now. He does do much charitable service for world/jazz/funk etc. at least. He's found a formula that works and sticks to it: new charting act crusty pop legend on second career big current pop act jazz or soul legend acoustic bedwetter vaguely credible new indie act token electronic/rap/other tibetan throat singer or sim.

He's clearly a great player but I do sometimes wish someone would hide his filter pedal for a bit... Really enjoyed his stuff with Kendrick.

We bring out two drummers sometimes. I say 'we', but basically it's a standard four-piece lineup and whoever else they know who happens to have the evening off turns up and sits in as they see fit. I do one-hand keys and backing vocals/hype man duties usually. We've done the double drums thing a few times this year though - started at New Years and two or three since then. We have one who overplays and one who underplays, so that works out nicely. It's fun and gets the crowd going during the middle section of 'Rock And Roll' when they trade eights for a while. Mostly bar standards so nothing too complicated we can't work through. It does get very cramped onstage though, and obviously you have to split the pay for an extra member.