Lenny B

Sorry, but you're pretty much all wrong - you can't do it. There are limited exceptions for infringing copyright and saying "I want to learn it" doesn't unfortunately cover that - you can buy the magazine or book to learn it. Sorry to be the grump.

Welcome Phil, hope you enjoy it here! I don't actually look through the different forums much, I just click on 'view new posts' to see what's been going on, you'll get quite a feel in no time (PS - I do have to say though, that this site has cost me more money than the US one though - easier to buy!)

I had a really fun one last night - my third time of depping for a jazz/funk quartet (vox, guitar, drums) at Jazz After Dark in Soho - threw some long-overdue new strings on my Jazz before heading out, was more comfortable with the tunes and the players than I'd been before (some frenetic playing goes on) and it went down really well. So should be doing once a month with them which is great. Only downside is it's stupidly late (half 10 to half 2) and the money's pretty poor, but I'm not gigging much at the moment, so this isn't a complaint!

[quote name='2x18' post='353583' date='Dec 13 2008, 02:26 PM']How about my excellent Eden Nemesis 2x10 combo. Its got a xlr d.i. out, a good compressor and very versatile Eq. plus you can even add an extension cabinet if you ever need to You are welcome to come and try it out with your bass. Im just down the road in Leeds. Sale thread here [url="http://basschat.co.uk/index.php?showtopic=32548"]http://basschat.co.uk/index.php?showtopic=32548[/url] Will.[/quote] I've had half an eye on your thread, looks a smart amp indeed! (Have a bump)

PM'd

This could possibly involve design rights (registered and/or unregistered), trade marks and copyright, but copyright would only be relevant to your drawings of the designs, not the design itself (i.e the 2-dimensional drawings, not a 3-dimensional headstock). If you want to PM me the drawings, will happily throw in my tuppence'orth, but you should do some research (or pay someone else to) into what existing similar rights third parties may have before you spend too much money on this.

I like the CMU update [url="http://www.cmumusicnetwork.co.uk/daily/index.html"]http://www.cmumusicnetwork.co.uk/daily/index.html[/url] Pretty thorough and nicely irreverent.

Happy to have a look at the T&Cs if you want to PM me

A good manager can be incredibly helpful but they're a very rare breed. Couple of tips; 1. When discussing a possible appointment, get a (fairly) detailed plan of what they intend to do ('get gigs and big up myspaces' doesn't count) 2. What's their experience / reputation / contacts / successes? 3. Consider a 3-6 month trial period 4. Get a music business lawyer (feel free to PM me) Someone who is more efficient and organised than you can indeed be very helpful, but that's different from planning a career path and strategy. Consider approaching management companies who you respect, or probably the managers of bands you think have done well / had a good plan - there may be someone more junior in the office who would be willing to take you on but 'under the wing' of the more experienced managers My tuppence'orth

I had one and it was great - moved from a 4 to 5 shortly after, but was thinking the other day of getting one for my 4 again...

Camden / Central London?

Sounds like some good ideas in there, but my tuppence'orth of ideas and suggestions; 1) Jam it with the drummer - guitarist in the room optional (loop a recording?) 2) The riff implies chords and harmonies - use the bass to make a statement and set down a progression or harmony (roots / inversions) 3) Where the guitar line goes up, bass line goes down 4) Swap instruments with the drummer and play along to 1) 5) Repeat 1). 6) Use pedals (if that's your thang) to add colour - a simple line with tonal movement can be effective 7) Repeat 1) No need to do them all (obviously), but they may inspire some tangents to explore.

[quote name='dannybuoy' post='257426' date='Aug 7 2008, 05:47 PM']I know you said no distortion, but I'm gonna break your rule. Make a synth pedal like this: Octave -> Fuzz -> Filter Octave can be whatever tracks well. Fuzz should be something really heavy with a nice top end, like a Maestro Brassmaster or Tonebender clone. For the filter I would go for a low pass Korg MS20 or a DOD 440 clone, controllable by either an expression pedal or taking an envelope signal from the very start of the chain (so it's clean and hasn't been messed with by the octave or fuzz). Hell, make one of these and I'd buy it off you![/quote] +1

I used to have a Toby 4 - great bass, regret selling it. If anyone sees one with a Darth Vader hologram sticker on the headstock, drop me a line (reward offered)

There's awesome bass playing on the soundtrack to the film version of Hair - not the stage or cast recording. I think it's Bernard Purdie on drums, but can't recall the name of the bass player (but Bass Player mag outed him a while ago)

Sample set-list? Or examples? Not quite sure what indie pop is these days

Rock = John Paul Jones Metal = Cliff Burton Rock/Metal = Geezer

Very smart indeed - nice one