Panamonte

I'm amazed that no one has commented on the ludicrous publicity shot. What's that all about???!!!

And a couple of my particular faves by The Blackbyrds (warning - may not contain any flute whatsoever): [url="http://www.youtube.com/watch?v=DrF4-DdqVqs"]http://www.youtube.com/watch?v=DrF4-DdqVqs[/url] [url="http://www.youtube.com/watch?v=LtQCLhfQNiI"]http://www.youtube.com/watch?v=LtQCLhfQNiI[/url]

This is pretty flute-tastic as well: [url="http://www.youtube.com/watch?v=-i_Ja2sVw1g"]http://www.youtube.com/watch?v=-i_Ja2sVw1g[/url]

My Am Dlx P is the bass I reach for most often - it's just so playable. I don't have any problems with the preamp, although TBH I only ever play it passive live because that's the sound I'm after. If a P/J is what you're after, I really don't think you'd be disappointed with one of these.

I haven't tried the Sadowsky, but I've had the Fender for a year and I'm very happy with it. Despite my previous assertion on that other thread that the pick up selector pot operates as a three way switch rather than a blend pot, closer inspection reveals that it's not quite as cut and dried as that. Moving the pot a tiny amount in either direction from the central detent does give a different blend, although you soon get either just the P or the J on its own if you carry on turning. IME having it edged slightly towards the bridge gives a more pleasing blend of the two than the central position.

Really looking forward to getting my hands on a copy of this. I had the great pleasure of interviewing Nile Rodgers about four years ago. Couldn't resist asking him to sign my copy of C'est Chic - he graciously obliged

I also played with a dep drummer last night - first time we'd done a gig with her. She was fantastic - incredibly professional. I did my best to signal all the stops, slow downs etc. to her, but to be honest she was on it all after just one rehearsal. She does a lot of work including a regular gig with Herbie Flowers, so I tried not to show myself up!

I'm a radio producer and the programme I currently produce is recorded on a Friday afternoon, so Friday night gigs are generally out because I'm busy editing - although I'll take day's leave if it's worth it. Otherwise I'm lucky enough to be able to decide what shape my working week takes and I can gig accordingly.

[size=5][font=arial, helvetica, sans-serif][sup]Thanks, Bilbo. You've reminded me that it's a long time since I last listened to Conference of the Birds - getting it out for a spin right now...[/sup][/font][/size]

Summer 1979 - just turned 16 - I played my first gig with a jazz quintet (sax, piano, guitar, bass, drums) at school. The sax player was a pro who occasionally taught at the school, the rest of the band were all a year or two older than me and considerably more accomplished - the piano player in particular who was the driving force behind the band. I had my mate's short scale EB3 copy on long-term loan because he wasn't that bothered about playing bass, but a couple of days before the gig, his mum threw a wobbly and demanded that I give him his bass back immediately and wouldn't take no for an answer. Fortunately I managed to borrow another friend's jazz bass copy for the gig, although the fact that it was long scale (and had black plastic-coated strings) took a bit of getting used to. The gig went really well - we did a set of covers by various people including Sonny Rollins, Chick Corea and Herbie Hancock - although it was the only one we ever played. And I saved up some money over the summer to buy that EB3 copy off my mate!

I'm not sure if I entirely understand why Steve has taken his music off Spotify - the precise difference between the low payout per stream (which he doesn't object to) and the role of the majors in dictating the payout policy (which he does object to) is maybe a bit too subtle for me. I have a few musician friends who rail against Spotify because of the tiny revenues per stream and I can understand - on a gut level - why they'd prefer people to consume their music in a different, more profitable (for them) way. But surely the whole point here is that recorded music is no longer an inherently profitable part of the business - it now exists as a loss-leading promotional tool to get punters to come and see you play live which is where you earn money. If that's the case, surely the most important thing is that your music is as widely available online as it can be, regardless of the comparatively low income that may generate.

Only tenuously bass related, but if you haven't read Head On/Repossessed by Julian Cope then you're in for a treat - jaw-droppingly entertaining.

[quote name='Machines' timestamp='1323259224' post='1461076'] I think the hardest part with T-Birds is the setup. The 3 point bridge is a bit crappy and the saddles have no height adjustment making it troublesome to find a perfect balance. [/quote] +1 I know there are some people who get on fine with the stock 3 point bridge, but for the rest of us help is fortunately at hand in the shape of the Hipshot Supertone bridge. IME being able to adjust individual string height makes it a lot easier to get the best out of the T-Bird, but the prospect of possibly having to shell out for a replacement bridge might make going down the T-Bird route a less attractive proposition for you...

I've been using ER20s for a few months now and agree that wearing ear plugs really helps with singing live. Personally I haven't had any problems with hearing my bass - since the plugs attenuate more or less evenly across the frequency range I would have thought that if your onstage monitoring was set up so you can hear what you need to hear without the plugs, then it should be fine when they're in as well. Can't think of any solution other than turning up your monitoring!

[quote name='EdwardHimself' timestamp='1323006523' post='1458154'] Not if you define a bassist as someone who sits around their bedroom all day going widdlydiddlydo at 1000000 bpm on their fingers. However, he's made more money than most people on this forum by playing a bass. IMO I think that pretty well qualifies him to put "bassist" on his census form... [/quote]

[quote name='wateroftyne' timestamp='1322992925' post='1457920'] He's talking rubbish. [/quote] +1 I've got a set of LaBella 760FS flats on my CV jazz and they sound and play great - no issues with the neck at all.

[quote name='Big_Stu' timestamp='1322907568' post='1457129'] MXE was actually a song that Nod started to write in the hippy sixties. Instead of "So here it is Merry Christmans, everybody's having fun" try "So won't you buy me a looking glass, to look you in the eye" There was a bit about a rocking chair too. [/quote] Who knew? Certainly not me. Ta for the info

I've just been obliged to learn Merry Christmas Everybody for a forthcoming festive gig and while I realise it's viewed as something of an unsightly carbuncle on the face of the band's venerable catalogue in the eyes of true fans, it's still a very enjoyable bass line to play. FWIW Slade were part of what really turned me on to music in the first place back in the early/mid 70s along with TRex, Bowie, Roxy Music, Sweet etc. so they will forever occupy a special place in my heart. And I have I fond memories of going to see Slade in Flame at the cinema - what a corker.

[quote name='billyapple' timestamp='1322421443' post='1450695'] Pink! Go for it! [/quote] Saw Overend Watts playing a pink T-bird when Mott The Hoople got back together at the Hammersmith Apollo in 2009 - looked as cool as f***. One of the most awesome gigs I've been to - men of pensionable age rocking out with the exuberance and energy of teenagers

[quote name='Muzz' timestamp='1322400032' post='1450306'] <--------- Thunderbird? Live? Ok, it's Fenderbird, but it's still great. [/quote] In the words of Rod, you wear it well

[quote name='stingrayPete1977' timestamp='1322390194' post='1450109'] I guess the losses are not massive so its worth a punt, might be fun to smash it up at a gig one day I feel your pain Mart, We used a Carlsbro 100watt head with 4 channels which in our eyes at the time meant Bass, Guitar 1, Guitar 2 and Vocals through it into a 1x15 speaker who needs a PA when your 11? [/quote] Ha ha - yes, that rings a bell. After all, why did they put all those inputs there if they didn't mean you to use them all? Don't know about the Avon EB3 but my first bass (back in 1978) was a Columbus EB3 copy which was a corker - did the job for me anyway - although it was rather overshadowed by the MM Stingray I had the good fortune to acquire 3 years later!

[quote name='billyapple' timestamp='1322396734' post='1450222'] Sir, I salute you on your style and taste. Nothing beats the feel of a TBird ......Grin as wide as [/quote] Yup - that's the one. Yum yum

A huge +1 to everything everyone else has said. Much respect and admiration to you, sir. I wish you all the very best.

[quote name='Stag' timestamp='1322393953' post='1450178'] I think there is a perception that Gibbos just make a woolly thudding sound... Probably because of *that* switch position for Deep Bass on the EB3? Personally i think its a nice sound anyway, depends on the music you are playing i guess. [/quote] Well, exactly - to my ears it's warm rather than woolly. I play with two guitarists and a violinist so the low-mids are very much my territory and the Thunderbird fills that out brilliantly.

The Hipshot bridge is great - well worth getting. I'm not convinced by the claims that are made for its effect on tone, sustain etc. but it's just very handy to be able to adjust individual string height which is the major design flaw in the stock Gibson/Epiphone bridge IMO.