spencer.b

Great amp , had one for a bit , suppose it's heavy and bulky by today's standards though

I agree with the OP to an extent and don't get involved however over on talkbass I see loads of people getting really arsey about someone asking a question when there may already be a thread about it and the tone is often harsh and a bit nasty , I love that on here people will always point a newbie in the right direction

I often fly with a bass for gigs and it's never been checked or cross referenced with what I had when I flew out , can't see why you can't just come back with one ??

Nice one , just ordered it

Anyone know if there were any 34" scale basses pre fender?

Excuse my ignorance and apologies if all this stuff has posted before but I always thought Leo fender pretty much invented the bass guitar as we know it ( I guess he kind of did) yesterday my mate sent me this ad for this Bud-electro bass https://www.retrofret.com/product.asp?ProductID=9917&name=BudElectro-Serenader-Solid-Body-Electric-Bass-Guitar-c-1940s1960s I then went on a deep dive and it led me to this , it's a fascinating read about Paul and Bud Tutmarc and there part in early electric guitar history https://jivetimerecords.com/northwest/paula-tutmarc/ Here's a 1936 audiovox that was on eBay!!! https://www.seattletimes.com/seattle-news/on-ebay-the-worlds-first-electric-bass-guitar-forgotten-and-made-in-seattle/

They're alternative chord changes, the chromatic descending chords go with the melody and the bracketed ones I think get played in the solos on the original recording, they are technically tritone subs but I think of them as a different route to get from chord 1 (Bb) to chord 6(G7) so although different chords they have the same harmonic function and are in that way interchangeable, the bracketed chords are 1,4,3,6 which are pretty common changes for the first 2 bars of a standard and they work better for a walking line in the solos as opposed to the 2 feel with the descending chords when playing behind the melody Don't be embarrassed just to discuss it with the piano/guitarist before you start, with these tunes there's often not really a definitive version, the more you do it the quicker you'll be able to recognise the harmonic function and make confident choices about your route through and also you'll be quicker to hear if one of the others is playing the alternative changes, it's often the case on gigs that some people are reading a charts and others are not which makes listening even more important

It's tough but I will say there are pros and cons to the work life balance with the kids , I'm able do the majority of school runs which is more than most of the 9-5 parents at my school, I haven't taken any tours since they were born just the odd week or 10 days maybe 4 times a year and I turn down a lot on Sundays unless it's particularly good , tbh it's my social life that suffers the most

Music was always my thing , played trumpet as a kid , did all the grades , youth big bands and orchestra then got into rock got a bass went to basstech then got into jazz git a double bass , did the post grad course at guildhall 2003, been making a living playing since , tbf the first 5 years were pretty hand to mouth but I was young and had low outgoings and it's built up and up , this week I've got background jazz function in a central London members club tonight, Thursday a jazz gig in Annecy France , friday 606 jazz club in Chelsea on bass guitar , Saturday festival gig with an original band on bass guitar, Sunday jazz festival gig nr Naples It's a fairly average summer week for me although I'd have a few weddings I realize I'm lucky to have had that formal education and encouragement from my parents and it's been hard and tbh I don't think I could switch to it now with a mortgage and 2 kids but it works for me

I'm a professional musician, I have 2 sons and a mortgage, so you're saying I don't want a decent standard of living for my children?

I get those sort of figures for some gigs, sometimes more but often less as well and I'm often out 6 times a week , I was just trying to make the point your figure of 60k-120k from getting by to comfortable when the median salary in the UK is just under 26k ( you've clearly stated you earned 5 times this) is unrealistic for a working musician and not relevant to the OP

I'm not sure about making a living just from a function band tbh , even busy bands aren't out much more than twice a week, most weddings are Saturdays, also I've seen people talk in this thread about an even split and sure it does happen but most big function bands I've worked for are definitely not doing that . I play for a living and do a few weddings and functions but also jazz gigs , gigs as a hired gun for artists , original projects etc and I play upright too and read and I'm London and even then it's tough, but it hasn't taken the enjoyment out of it at all for me , still checking out new music , transcribing licks and on basschat all the time

Wow thats 60-120k a year , you must be doing alright mate, I play bass for a living and get by and my mates with very high profile pop gigs don't get near the upper ranges of that , only really west end and film session guys or successful artists that make that kind of money in my experience

I don't get the "they should quit" thing , if they enjoy doing it then why not I think the question is with the bookers and media and audience that will pay to see these ropey legacy acts rather than new good music

Just being padantic!!!! You're a rubbish pedant mate

I find the 2 volumes so annoying I'm gonna look into this

My Wal , then I'd sell it !!

I've put a deposit on an anaconda , went to try them and was smitten , if you want an active super jazz they're amazing, not arriving til October though

In the car is standard although if there's backline or a house bass ( if it's an upright gig) I'll get the tube or train , more and more London venue's seem to be getting house gear

Yes mate , sent an email last night 🤞