bassace

In the sixties the must-read was the Melody Maker. The opposition was NME which was not cool at all. MM was still quite jazzy which was very much the music of day. But there was still room for burgeoning pop/rock scene. Remember the Beatles were just breaking and there was lot of stuff about them, plus the Liverpool groups. The ads inthe back were great too: musicians wanted and the bands' itineraries made interesting reading. Georgia Fame and the Blue Flames would be playing 40 gigs each month. I bought an EBO for £90 out of the small ads. Exiting times to live in - and all signposted by the MM. And can I just mention Crescendo which was a monthly mag for musos. I'm looking at a copy right now dated May 66 with a photo of Sonny Rollins on the cover - and I get a mention inside.

I'm sure the endorsement is misattributed. Wasn't it BR who said it?

Roger Marks Cornish Armada www.armadajazz.co.uk. is an excellent six-piece trad outfit. Highly recommended.

No, but are the drums any better - or fewer?

Would like to see KC but not with this yawn-fest. Sorry.

This vid should be shown to every drummer who asks 'what do you want me to do in your bass solo?' A great bass solo enhanced by sympathetic drums.

Once Upon a Time in America by Enrico Morricone is great and complements the film very well - IMHO

I call myself a double bass player but I'd never dis a BG player because both instruments are equally relevant and I had a lot of BG fun in the sixties and seventies.

There have been instances of buttons not pressed, leads not plugged in etc, but when I was playing trombone I took the slide apart at home to give it a clean and oil. When I got to the gig and opened the case I had only half a trombone. Hm.

The tailpiece and tail wire will be in tension roughly as above but the neck will be in compression as a result of the forces exerted by the strings. There will also be a bending moment where the neck joins the body. It will be acting as a cantilever. Sorry to be a tad pedantic.

Yes, sorry I brought that into the thread.

[quote name='The Admiral' timestamp='1418416248' post='2630131'] Hugely off topic I know, but the guy from Coldplay is only the drummer because when their drummer didn't show for rehearsal back in the dark ages, he swapped from rhythm guitar to the sticks 'temporarily'. I understand he doesn't play drums, except with the band, and doesnt even own a kit. [/quote] That explains a lot.

Listen to a lot of CDs to hear how it's done.

Saw them at NIA last Sunday. Fantastic show - Pete in good humour, Rog in excellent voice all the way through and Zak was a real star playing Moon-like but seemingly effortlessly. Contrast that with the huffing and puffing that some of today's drummers put out. (that Coldplay clown eg)

The good feedback that Chris has received gave me confidence to buy a Clarus amp from him. And so it proved: good comms and an easy straightforward transaction. One of the good guys!

Great result!

I don't often get to big gigs but I'm seeing The Who at NIA on Sunday. Hope the bass sound will be good. Don't even know who's playing: is it Pino?

I can't see much detail in your photo but it looks as though the slots need lengthening a bit so the ball end is retained within the length of the slot and not towards the hole where it can pull out. Best to mark a pencil line in the direction of each slot and use either a keyhole saw and a file, or just a file if you've not got far to go. You could take off each string in turn so you keep the pressure on the bridge/soundpost. A small flat file with a serated edge will be best.

It seems a very nice piece of kit. I was amused by Gary Upton's explanation of impedance matching which he posted on his website today. Explains it all, I think. I've lifted this without his permission so I hope I won't get put on the naughty step:- Imagine your pickup is talking French, and your amplifier only understands German. With lots of effort and wild gesticulating, the amp kinda gets the gist of what is being said...but it's missing the nuance and romance of the language. Enter the Pre-Amp! The pre-amp is the translator, and makes it so the amp understands everything the pickup is saying.

A bulky case may be do-able when loading and it may have wheels. But as soon as you get it into the venue it'll be a pain, manoeuvring it through doors, round tables and other obstructions. If you only have one case make it a soft cover.

Because most of the time I go to gigs in my estate car I use a soft case. But I'm not too precious about which one. Wheels and lots of padding only add to the weight. The important thing is a case that's easy to get on without damaging the bass; and, believe me, there are one or two nasties out there. As important are some well-placed handles for carrying and loading. If I fly or the bass goes in a van I use a flight case. But 95% of the time it's a soft case.