thumperbob 2002

[quote name='flyfisher' timestamp='1352988245' post='1870188'] So there must be a niche for bands that play Mustang Sally then? [/quote] Absolutely.

[quote name='TimR' timestamp='1352984758' post='1870114'] So you have only ever played 35 songs in your life? How long are your gigs? That's only two hours of material at a push! The point is; the band has played hundreds of songs. We've still got charts for them all and if we needed to we could play any one of them. The reason that we have a set list of 50 terrific songs that we play on a regular basis is because they're terrific. You find that out only by trial and error. Songs one band can pull off others can't, turn up to a pub gig full of a certain age group and try to get them going with Lady Gaga and you'll get into problems. If you can afford to chose which gigs to do then it's different, but if you're in the market for functions you will struggle. Mustang sally has 3 chords and 5 noes of the pentatonic scale. It's hardly taking up valuable space in your brain or learning time. Dismissing a song that the audience request and like because of snobbery is up to the individual band but no one is getting bookings turned down because Mustang Sally is on their setlist and the audience don't like it. If they were no one would play it. [/quote] The songs I have done in the past- since 1976 probably run into the thousands. My point was I have seen bands- and depped for them - that have a set list of hundreds of songs to choose from and I also have been in bands where the set list has been really thought out well, even thought there have only been 30 odd. There is always a difference between the quality of the bands that know what they are doing, that people actually want to go see- compared to bands that are there for punters amusement- who will cater for some drunk guy asking for whatever. These sorts of band try to cover all basses so to speak. Dismissing a song is not really down to musical snobbery at all- I just think that to be a successful cover band you have to be different and have your own niche- and that may not include easy songs that any band could do in their sleep ( however popular )

[quote name='TimR' timestamp='1352979545' post='1870006'] Quite frankly, you don't know what you are talking about. It's ONE song in hundreds of songs we play. If a band were to play a 10minute extended mix several times during their set you might have a case. Get a grip man! [/quote] I think he knows what he's talking about. In my experience it is better to have a terrific set of a maximum of 35 songs than hundreds. There is a difference between having a so so set of many than a brilliant set of a few.

Its just that really the audience are not dancing and singing along to the band- but to the song itself- might as well put on a record- Chain reaction?? As seashell said- If you havent done it learn it properly- the Wilson Pickett version- and play away. There will be a different reaction to Freebird- but my point was why cant bands do songs that would have the same audience reaction whilst still being interesting for both band and punters? Suggestions please...

Its so easy to do songs that have "always worked"- like Mustang for example- it takes no imagination or thought whatsoever to put this in the set. I think that musicians themselves are quite frightened of doing anything new- as in " we might die a death doing that one"- this makes most soul bands sets very very similar for example. I particularly hate the " we have always done things like that and its always gone down well" train of thought and wish musicians would try to be less lazy with their set choices and push the envelope somewhat. If I am at a do and the band goes into Mustang Sally, sugar pie,Midnight hour I am not impressed at all. I think we treat the normal audience as being quite thick sometimes and I would love to see a band do songs no-one else does. This is one of the reasons I am setting up another band- mainly for my enjoyment in doing some " out there" songs.Nothing wrong with Mustang really its just that its been done to death and I would love for someone to come on this thread and tell me its not boring to play. Lifes too short.

[quote name='chaypup' timestamp='1352902488' post='1869113'] Do I Do with all the fills is a good finger workout. Although when I see Nate Watts play it it doesn't look like he's moving his fingers at all! [/quote] Good one pal- yeah!

We do Mustang Sally as the band is simply too lazy and scared to do anything that requires a little bit of imagination.... Goes down well but the difficulty with numbers like this is that they make everyone lazy, especially the band. My problem with my present soul band is that they are so conservative its untrue. To make it more interesting for myself I try to put different licks in, false harmonics, double stops etc. The audience wouldnt know by that time of night.

Wow!! This is one of those where, say in 10yrs you wake up in a sweat realising what you did that particular day. Cursed for life.

My hands killing me! Just sorted come on come over and what us hip for the new band I'm setting up. But harder to play than my normal jamerson covers. Definitely more than one finger needed. My normal band soul patrol are well established now and it's so easy its intrue so i thought I would set up another band doing more challenging funky stuff. Got a great bunch if musicians. Just aiming to do one gig per month solely for enjoyment. Really looking forward to it. The aim is to do stuff that noone round here does. Any song suggestions?

It was said to a certain mr Epstein that guitar bands were dead and we know what happened there.

Yeah flat on the lh1000 is mids on max (10) and bass and treble on 2. To be honest not much difference to mids at 10 and bass and treble on 0. Would be no problem for my active basses- Warwick thumb and low end jazz, just a little too scooped for my passive jazzes. However I don't think it's the amp as much as the speaker cab that is scooped. I only needed a little extra mids, just that bit to really cut through. Now I have a very very loud, portable rig that cuts through with oodles of headroom.

What about MC Hammer /Rick James- you cant touch this. I sometimes bang this in in one of our intros- works really well. Oh and The Jackson 5 I want you back.

Thanks Andy. What a great pedal. Never surprised with bass gear normally but this is amazing.

Got one of these from another chatter. What a great pedal So simple- just controls the mid range frequencies. Built like a tank. Tiny but very heavy. My rig is a little scooped so thought I would use a graphic to add more mids ( maxed out on my hartke lh1000 ) so bought a behringer one. Did the trick but was curious about the bmc pedal - one came up on here so I bought it. Amazing quality, very warm sounding. Loads of different sounds on this and all useful. Cut through like knife through butter. Really really useful pedal that would be useful for all players.

Just get the full set list and learn them as best as you can - note for note. Soul man sounds pretty easy but there is quite a bit to it. However you've gotto do it without looking at your bass. Positions.....!! Loads of great great lines for soul songs. Sex machine?

Bought a EWS Bass Mid Control pedal from Andy. Very fast delivery- great guy to deal with. Bob

Hi Pal- Graphic on its way to you- should get it tomorrow -or Thurs. It actually has a Feedback tool- think its called FBT- which when you push a button and ring out the pa ( turn it up!! ) the offending frequency lights up- turn down that one and turn up pa. Easy. I always do our live sound out front with a wireless- I have a Mackie 1608 so can mix out front using a router too. I think it is important to mix the whole band as one mix and not to concentrate on one instrument ( unless you have problems with it. ). You`ll quickly know which frequency to cut to have a balanced mix. The problem with some musicians is that they get carried away on a gig and go for it once they are on and so play harder than in a soundcheck. Not good for sound. Listen to a record of your type of band and try to emulate the mix- keep those keybaords down in the mix!! They will fill the midrange if you are not careful. I tend to have them really quite bright with a High Pass Filter on almost everything. Too much to talk about in one post!

We all have off days from time to time. Forget about it and try something else for a bit. Two years getting a set together- wow. You must all be saints or really enjoy being in a small room with other non- gigging musicians. Two practices like that and I`m out!

it will open up new avenues to you, unless you have amazing ears. I could play for years before I learned to read music ( which was pretty boring intially, though once the pressures on at a gig I cant say I could describe it as boring anymore ) I wouldnt say I was a great reader, but can get by. Our trumpet player, who is also a conductor in some big bands, read the brass part to Sir Duke straight off first time, and that is a good reader, I think you could say. Though I think it depends who your bandmates are also- its great to be able to play along with Jamerson etc ( but not straight off for most of his stuff ) but if you are doing the normal Rock stuff in Pubs I would say its academic whether you`ll use it or not, Theory is important though. The question is, would it be better for you to really get to grips with Theory ( which everyone could use ) or spend at least 30 mins per day learning to sight read- which is not so useful for everyone?

[quote name='hamfist' timestamp='1351668867' post='1853862'] What you need ( if you have the cash) is an EWS BMC (Bass Mids Control) pedal. Tiny, ultra low noise, and very high quality. Costs about £140 but real quality does not come cheap. Thoroughly musical pedal which will solve all your issues and life problems too ! and recommended by me !! [/quote] That looks fantastic-the only problem I can see when compared with a Graphic EQ or full range parametric is to cure a boomy room the answer would be to reduce the lows and the low frequencies only. Would this give you that control. Love the size of the thing.

Well I had the Harley Benton BEQ-1 delivered yesterday ( ordered the correct one- just couldnt remember the name for it. ) Medal framed pedal- sliders look a little fragile- but it was £27 delivered so cant really complain. Took it to a gig yesterday night and with quite a mid boost- very unhappy face on this EQ- got the sound I was looking for- very warm- cut through brilliantly- I am in a 7 piece- quite loud Soul/ Funk group. I recorded the gig on my Zoom H2- bass sounded absolutely superb. Very low and deep but defined with a great brightness at the high end when needed. I do agree with the previous posts in that the Hydrive cab seems to be very scooped, much more than the amp. However these cabs have massive headroom and power and can be very bright and therefore cut through very well. That is what I wanted when I purchased this rig. Now I have the control I need this rig is a keeper- until another onset of GAS. I think the only downside of this rig is that the amp is a little heavy- esp when compared to my Markbass LM2 ( which actually sounds similar to the Hartke through this cab when flat. The cab is surprisingly light for a 4 x 10 so I suppose that makes up for it.

[quote name='Lfalex v1.1' timestamp='1351706075' post='1854451'] Aw, c'mon! The compact cassette was widely available by the early/mid 70's. Just rip a few LPs and burn them to a compilation tape. write down the tape counter start points, and BINGO! you can play/replay tracks without the hassle of the stylus rigmarole! [/quote] They were too dear for me- Could hardly afford records- let alone a tape deck. Everything is cheaper nowadays.

I play everyday- no messing- mostly its learning a new song or two or revisiting old songs to get them absolutely perfect. Having not played for a few days ( on holiday ) I can tell, and think that the crowd can tell too ( they cant ). You never ever stop learning and shouldnt get to a point where you are "good enough"