NHM

Our guitarist is very capable, it is an interesting thought that he may want a second to 'cover his back'. He doesn't need to, although it may be a confidence /perception issue. I'm interested to explore the musicality around this. Of course there's lots of great three piece bands playing songs with structures where in the transition from verse into solo the role of the guitarist changes from, essentially, rhythm to lead. Do bass players change too at this point in the song? Does the bass player need to make any sort of adjustment to 'smooth' this transition? My experience has been that if I go low and the guitarist is high, there is a massive frequency gap left which can make a song suddenly feel empty with a sense that momentum is lost. So it's fine to say 'embrace it, it's what three pieces are all about'. But are there techniques the band can use to smooth this over when you'd expect there to be a rhythm guitar or keys also playing through the solo, as the original song was crafted for a four-piece?

Some interesting reflections on my point about songs going 'flat' during guitar solos when you're in a trio. Actually it mostly doesn't worry me, I agree it's just part of the sound of being in a three and it should be valued. However, the issue comes from the guitarist (who is the band leader), who wants to add a second guitarist as he perceives we go 'flat' when he solos. Hence why I'm trying to find strategies to take his mind off hearing this and stop it blowing it up into a problem. I'm against moving to a four as I think it might spoil our distinct sound; there again it could be a good thing if we find the right person, who knows? Whatever, it will take us ages to properly orchestrate a new band member in and will deflect from polishing our sets and playing gigs in the short term. Nail Soup, please feel free to start a new thread if you wish, I won't feel I've been hijacked!

I play in a four piece classic-rock covers band, although the singer doesn't play an instrument so I guess I'm eligible to contribute to this thread... The guitarist plays a Les Paul into a Marshall, he is a bit on the loud side but he makes a great sound so he gets some slack cut his way. The drummer is pretty loud too, so high volume is the band style and I just accept my lot and get on with it. We recently did some recording, and I was really impressed at how much work the guitarist was doing to cover rhythm work with lead licks during verses, to keep the songs identity going alongside the rhythm/harmonic structure. I hadn't previously heard a lot of his detail when we play live. While I'm dum dumming along on for example lots of Ds then the odd C and G, he has covered a massive amount of material with great aplomb. We play covers from many bands who have a second guitar and/or a third and/or keys, and I take my hat off to him for his ability to still get the essence of the song. As we try to be reasonable faithful to the original, he gives me the spaces I expect to have to fill or contribute with details. The real issue for me is when he solos, as the sound can suddenly empty. My instinct has always been to play low during solos but I've come to realise this might not be the best approach. I've found that one strategy to fill the sonic void left by him coming off rhythm work is for me to start playing high as he starts his solo, transitioning later to lower notes. This seems to smooth over the hole. I got the idea from Jack Bruce playing 'Crossroads' (ironic!) who starts one of the solos high and then moves low and this seems to make for a great blend from the verse and doesn't let the song go flat. I'd be interested to hear how other three-piece bassist scope with this 'emptying' of the sound during solos. Some songs it doesn't seem to matter, but in others the hole is glaring.

I've recently purchased a Bassman 500 which I'm really enjoying. I want to buy a couple of 12AX7A tubes for spares in case one or both fail, and also to experiment with new sounds. Will different brands give different sounds to the stock valves? If so, are there any recommendations? There seems to be quite a number of choices at Watford Valves, which is a bit baffling.

thanks everyone for your really helpful advice. What a great forum this is.

Hi all My drummer chum wants to get his young son started on bass (evidence of evolution at work!) and has asked for a recommendation for a cheap short scale. Any advice from your bountiful experiences? GAK has the Talman and Bronco which both look good for just over £150, but are there others to consider? And do you think it is better to start with flats rather than rounds?

I've fitted the TIs - and they feel and sound great! The only downside is that 32" seem a bit on the long side, as the E and G string have the main body of the string around the post.

I've left them on. I like the look of them, they've never caused a problem and help get good string on the saddles.

yes I'd read about the low tension. I guess I won't know if that suits me until I try them. I'm not too fussed about a super low action, so that's in my favour.

thanks for this info. I've placed an order for TI Jazz today. I haven't tried these flats before (I've previously used GHS/Fender/LaBella) so I'll be interested to see how they compare. For spacers, the plastic letter beads you get with LaBellas work really well.

I've just purchased a GLPTDC bass, a very nice bit of kit, I'm impressed. I want to put flats on it, but not sure what length to buy. Gibson specs say the bass is a 30.5" scale, but my tape measure makes it 32" ball-end to nut. So is it short scale or medium? Any recommendations that fit would be gratefully received!

I'm sure you're right Dan, but the wireless transmitter is by the front door (not convenient for my study and I don't want to run cabling through the house) Once it gets a bit less cold, I'll venture out into the hall and wire in directly as you suggest and compare the speeds...

I've not checked the difference in speeds between TP-Link and wireless connections before, so i just did this: Wired via TP-Link - download 43mbs/ upload17mbs Good old BT Wireless - download 7.5mbs/ upload 9.5 mbs Interestingly, latency was a smudge quicker on wireless. I rest my case!

My laptop doesn't have an ethernet connection, so I bought a cheapo USB-Ethernet cable from ebay and it works fine as a connection to the home plug. Wireless of course would be simpler, but the home plug system has transformed laptop and TV operation in a house with a poor wireless signal.

The wifi is poor in our house, so we've purchased 'TP Link home plugs' for our laptops and internet tvs (all of which tend to stay in the same place), and it has significantly improved service speed and solves the cabling problem. I noticed this morning that our local Tesco is selling a pair for £30 which seems a good deal.

I knacked my hands from too much keyboard typing, so learned the hard way. But I've adapted and now manage without any problem by using other fingers. For bass playing, vary what you do, so some finger, some thumb, some pleck, never too much, never let it hurt.

I've used Jacks too - very good service imo.

thanks for all the tips. I too thought Jamulus looked the easier of the two to use and we had planned a rehearsal for last Weds but ended up not doing it 'cos one of the band had to work. Hopefully this Weds...

Anyone rehearsing online using free software? I've had a look at Jamkazam and Jamulus - are there others? Any recommendations from those that have gone before...?

I saw FC at Whitstable a couple of years ago, where he played the Ibanez fan fret. I 'just happened' to be down by the stage at the end of the show, when he came back on to pack away his gear. I asked him what it was like to play a fan fret, about which he was very enthusiastic. So much so that he invited me on stage to play the bass, and we chatted for about 15 mins. What a nice guy.

Yes, read the QAA and TEF reports by all means but take them with a pinch of salt. Having worked in higher education for 40 years, I know they only tell a small part of the overall story. The best things about being at a conservatoire will be the intensive teaching, being surrounded by the cream of teaching talent, the connections these people will help you make, and being in a broad pool of similarly-talented and aspirational young musicians. And the resources you will have at your disposal will be unparalleled. London is the best place to be, however attractive other places are. I assume you have been to the college, met some staff and current students, had a tour and passed an audition, so you will have a gut feeling to tell you if you fancy it. The key to success will be whether you find your tutors and the modules inspirational. If you do, then you will have an incredible learning journey and end up somewhere you couldn't have imagined. If you don't you can always transfer somewhere else or change tack completely. Think of it as a one year financial commitment in the first instance, and see where you are at the end of your first year.

yes, it is excellent. I've heard it is an edited down version as it was originally much longer - I'd love to see the first cut. Some amazing footage, bands and songs.

to quote Jack Dee, it's the No 2 on Boxing Day that you should worry about.