spencer.b

Sad news , for me one of the heavyweights. Some of the so called bass virtuosos are just wiggling the fingers really fast but victor was the real deal Just listening to Db waltz from weather reports domino theory and kid logic from his first solo album, brilliant RIP

Do it, I always say I'm gonna do the same but never do My dad used to do a lot of target shooting and his mate used to say beware of the man with one gun, meaning the man with one gun is more interested in practicing than accumulating gear and chatting about equipment and he'll probably be a good shot I'm certainly guilty of picking up my bass to practice and getting sidetracked by set up, string gauge , etc and what bass I really need to get MY sound and also being on this bloody forum instead of practicing 2 bass guitars 1 amp , surely its all you need, saying that I've got 8, 3 double basses and loads of amps!

Can't imagine them working much as a pop cover band doing those tunes anyway mate

It is indeed Scott Lafaro at the peak of his powers, mind blowing. 1961 though (sorry to be a pedant)

Just had a look on ireal book app it's on the trad forum, look like pretty decent changes, if you haven't got the ireal book app I'd strongly recommend it (I'm not saying you shouldn't commit tunes to memory before any one starts!), it's particularly useful when you get handed an 8 page piano vocal chart of 32 bar tune you don't know

It's a 2 16s tune ( the 2nd most popular standard form after AABA) so if it seems like a longer form it'll be reharms in the arrangement your doing. I remember bluffing my way through it on a trad gig recently, all pretty diatonic but the 2nd 4 bars of the 2nd 16 are different from the first which is a bit unusual as most 2 16s only differ in the 2nd half of each 16

I love berg hds ,I know it's all subjective but I'd say the vanderkleys are more modern sounding with a bigger footprint ( frequency not floorspace) and the bergs are muscular smooth and rich, I wasn't convinced by berg CNs light in tone and weight for me.I'm a fender and flatwounds guy though, what bass do you use and what sound are you going for IF you have a sl112 for small gigs and bad load ins , quick changeovers etc I'd personally go berg hd

I could understand the OP being a bit narked if it had turned up on BC for £1650 but surely any business sells for what they can get . Also you sold it BD haven't presumably they'll be happy to wait a bit longer for the right buyer Now this is just a theory but BC has it's own little economic trends and one of them has been a drop in used warwick values but BD has a potentially broader marketplace I find BDs used prices very good for a dealer especially on fender type stuff I actually saw a bass I'd owned and sold on commission come up on his site for less than I received from the shop I sold it through!! I guess cos people know him for the modern sound like warwick

I'm looking for the warmest roundwounds available, any ideas? Tried dr sunbeams and lorider nickel My main bass is a p with flats and I need to have a 2nd bass with rounds for some gigs that need punchy articulation but still want a really old school sound , valve amp foam mute etc

[quote name='4stringslow' timestamp='1471960635' post='3117266'] I was just exploring your comment "[i]... so it really bugs me when guys on here have suggested they care too much about the music to do it for a living and they're better off cos they can pick and choose what gigs they take,[/i]". In short, who would carry on their lives exactly as they are now if they won the lottery? ie would a pro musician whose only source of income is from playing music still take on every bit of paid musical work they could even though money would no longer be significant. I've never earned my living from music and so the only reason I have for playing and gigging is because I enjoy it. Simple as that. I'm a free agent and can pick and choose what I play, when I play and (within reason!) where I play. If it was my only source of income I wouldn't have that freedom because I'd have bills to pay etc etc. I'm not suggesting that people don't enjoy their paid jobs (I guess some do, some don't) but how many actually enjoy it enough that they would keep it if they could still live perfectly well without it? There's no right or wrong answer, I'm just curious. [/quote] I honestly think I would do all the same gigs including things like a sh*t cocktail hotel gig , I still enjoy it and learn from it, I'll think about hand shape, tuning, rythmic placement and I'll learn more songs and hang out with other musos ( semi/pro /wanna/hobby ) I think everyone should work(not in farage way) 4stringslow I didn't mean you were bugging me and I appreciate your measured responses , for a change this thread hasn't gone bitter! Skankdevlar raised some very interested points as ever

Sorry 4stringslow just reread your post, so if I didn't need to earn money I actually think I would do all my gigs , I enjoy playing bass and also think it's good to be busy and have purpose in life Again , don't really know what you're getting at

I wouldn't take EVERY gig but I'd have to go to work everyday , don't really know what your getting at? I still have the same enthusiasm for playing bass I had ad a teenager and feel privileged to be able to make a living at it. Over the years I've been in involved in many musically rewarding projects that I wouldn't of been able to do if I'd had a day job

I'm a pro , it's not easy but it can be done. I think it's worked out for me cos I'm pretty broad stylistically, I do electric and upright and read, I do jazz gigs , pop tours,functions, crap hotel gigs,rock, blues, country, folk, panto ,anything going basically.I think being london based helps too I wouldn't suggest for a minute I'm pro cos I'm better than all the semi/hobbyist/wannabe players so it really bugs me when guys on here have suggested they care too much about the music to do it for a living and they're better off cos they can pick and choose what gigs they take, I've got a family and mortgage etc and I'll regularly dep a well paid function to do musically rewarding gig for next to no money

What a record, anyone know anything about what amp and how it's recorded, it's a mic,d up cab rather than DI right?

I find it way easier if I play with a plectrum

I'm getting one made for my band with cigar box , check us out https://www.youtube.com/watch?v=ojlSARbO230 gonna be tuned GDG , an octave down from the regular box with a 28" string length

One of the all time greats, I go along with the theory that she thinks she's on those tracks and it was down to tracks being cut multiple times on different sessions and hope it's nothing more sinister. I personally think it's Jameson on bernadette but she kills it with the pick on the OP YouTube vid It's such a shame that all this disputed credits stuff seems to dominate our discussion on Carol as she's so talented ,prolific and influential. Her chord tone as opposed to scalar jazz improv approach is so on the money too If you haven't heard the Mel Torme version of Games people play then you gotta check it out

I do tons of weddings and my standard line is bacs in advance or cash on arrival and with the cash I find the most important thing is to discuss in advance who will pay and when they'll pay it in and don't accept " at the end of the night"