JapanAxe

Blue, it sounds like touring would suit you perfectly. Why not pursue it? Have a think about where the opportunities are and make some approaches, talk to people you know in that part of the industry, find out how touring bass players got to be where they are and see if that route is available to you. You only live once!

Available much of December including New Year's Eve.

Available much of December including New Year's Eve.

If it wasn't for drummers, who would build all the sheds?

[quote name='Woodinblack' timestamp='1476564278' post='3155321'] Carlsbro stingray! [/quote] I'll see your Carlsbro Stingray and raise you a Carlsbro Hornet 45! I played mine in a church music group and it seemed OK because I knew no better. It only took one actual gig for me to realise how totally inadequate it was in every way. I replaced it with a Sessionette combo which did me fine until I did a gig with a horn section. The world of valve amps was beckoning...

All in all a great country gig near Leicester. My favourite moment was the drummer's introduction to one of the songs: 'You can waltz to this if you want. 1-2-3-4!'

Splitting a humbucker rarely gives a sound close to that of a lone single-coil pickup, for reasons to do with their construction. The Seymour Duncan JB sounds quite good when split, and some other HBs are allegedly designed to split in a convincing manner. If you like your split sounds, stay with them. If not, a shopping trip may be in order.

I had an Octave Mandola (Irish Bouzouki) which sounded GDAE an octave below a regular mandolin. Although the wider neck was better for me than a mandolin, the longer scale length made close-voiced mando chords impossible. To the OP: Take a trip to Hobgoblin Music in Bristol. They have a good array of mando-type instruments. Also the shop is staffed by comically-bearded gentlemen. While you are there, both the Music Room and PMT are within 10 minutes' walk.

[quote name='joeystrange' timestamp='1476465700' post='3154639'] Do any of you guys using IEMs NOT use your own PA? Would it be a lot more difficult if you were to use them with a house PA/engineer? [/quote] I will be doing exactly that tonight - just need a reasonable monitor mix from the desk to the transmitter box.

Blue posed the question: Where is Skegness? Everyone has missed the obvious answer: [size=8] [/size]

Excellent informative review Paul, just the things we all need to know.

I have had a single and a double for at least 7 years. If they were going to go sticky they'd have done it by now I reckon!

In the OP's example, the semiquaver runs stand out. I would play through those slowly at first and work out my fingering. If I realised that they were a particular scale (as here) I would 'pencil' that on the piece, whether in reality or in software.

The dominant 7th refers to the 7th chord built on the dominant scale degree, so in the key of C that would be G7. Things get a bit more complicated because the same chord can function as a 'secondary dominant' so for example the chord G7 may be used in the key of Eb to take you to the chord of Cm. If you are going to play a 7th as part of an arpeggio or scale run, you need to think of the chord behind it and its function. Much confusion arises because the term 'minor 7th' can refer to an interval (pitch distance between 2 notes) or to a chord (minor chord extended with a 7th). I'm going to butt out here and suggest you find a good book about chords! EDIT: What Stickman said while I was typing on my iPad!

This happened to an instant corkscrew device in my kitchen. I don't know either!

[quote name='Bassnut62' timestamp='1476042024' post='3150786'] A horrible small combo by Trace Elliott with a vertical slit for a baffle board. V weird and truly awful sounding. [/quote] That was a bass amp, the BLX80 I think.

Thanks chaps

[quote name='alyctes' timestamp='1476010816' post='3150374'] I don't like the look of that crack in the back of the neck. Is that just the lacquer, I hope? [/quote] There is lacquer peeling from the rear of the headstock, so I'm guessing yes.

This goes out to you Leicestershire folks, and anyone living not too far from Junction 22 of the M1: Crow Valley Band is my regular bass gig. We play both kinds of music - country AND western! Next Saturday we are playing for Broken Barrel Country Music Club at Shaw Lane & Battleflat Miners Welfare Club, Billa Barra Lane, Markfield LE67 9PD. Doors open 7pm, we'll be playing from 8.00 or 8.30, and admission will be £5-£6 on the door. Why come? - You already like country music - You think you don't like country but are prepared to have your preconceptions overturned - Curiosity - You want to hear an old Precision played through a Demeter head and BF cab - You want to see and hear a fellow BC-er in action You can access the band's website via the logo in my signature.

To have a status LED you will need a 3PDT switch. The size of the LED doesn't matter, and it won't affect the sound, but you will need to add a resistor (say 1k) in series with it. Like this:

When I started learning guitar, I soon realised that I would make much better progress if I understood what I was doing. This was 1978 so no Internet, but I got a long way using books and just going over the stuff until I 'got' it. It is an ongoing journey of discovery, and it has never made me yawn. So 'yes please' for me.

[quote name='mentalextra' timestamp='1475867207' post='3149436'] "Shake some action" brings back memories [/quote] I love that song

I recorded this as a demo to put on my Bandmix page. - I found the drum track on t'interweb. - Both the guitars went through a Swart STR combo, DI'd from the speaker output via a Behringer GI100 - Rhythm guitar is a Strat through a Cali76 compressor - Lead guitar is a Tele through a SlideRig Compact compressor and Boss DM-2w delay - Bass guitar is my '73 Precision through a Cali76 into a Markbass 801 connected to the desk via its DI socket - Recorded to an Akai DPS16 - Mixed into Audacity with no further treatment [media]http://cdn.bandmix.co.uk/bandmix_uk/media/292/292159/57753.mp3[/media]