Happy Jack

Harsh, but true ... in a live situation anyway. For home noodling and quiet practice, that's not a bad offer though.

[quote name='Old Horse Murphy' timestamp='1507488629' post='3385834'] Mine is G. I feel empowered and strong when I play it. It makes me happy What's your fave? [/quote] Staggered to see that it's only Horse and me who realise that G is the well-spring, the motherlode, the key to it all, along with (of course) being The People's Key.

No wonder no one wanted to join their band ...

[quote name='bassjim' timestamp='1507636774' post='3386875'] Apparently ...........Chuck Rainey who played the bass on Peg, knew the SD guys didn't like slap and had pretty much outlawed it. The band recorded live as a unit BTW. But Chuck said he knew that the chorus just needed it so every time the chorus came about he turned his back to the studio window and tucked himself down behind the screen a bit so he could be heard but not seen. Did the trick and the part stayed. [/quote] [quote name='Rich' timestamp='1507637628' post='3386880'] Yes, I saw that programme too Fascinating stuff. [/quote] Because that's how things are done in professional recording studios by big-name bands and top-level session musicians. I know it's a great story, but does anyone seriously believe for one minute that this sort of nonsense would have got past a pair of infamous control freaks like Becker and Fagen?

It's a good thing that Barefaced are so light ... it makes it easy to load them up with extra heavyweight features.

[quote name='EliasMooseblaster' timestamp='1507638161' post='3386884'] And it may be of interest to note that it's not an entirely new phenomenon: Kate Bush is probably the most famous example of someone who decided she didn't much like gigging and just ensconced herself in the recording studio. There are groups like Big Big Train who seem content to play two shows a year. [/quote] [quote name='discreet' timestamp='1507638837' post='3386889'] Both have an established audience who eagerly await any recording or performance. Bit different to rehearsing in a railway arch every week and playing the Dog and Duck twice a year. [/quote] Wasn't there a popular beat combo back in the 60s who did something similar? I think they took over Abbey Road for ages and ages, and then released a record with a silly name? Someone help me out here ...

I've had no complaints ...

[quote name='radiophonic' timestamp='1507618247' post='3386732'] I can definitely see the attraction in the 'practice' being the main event. You get together and you play. That's the event. I enjoy playing gigs but there's plenty about [i]gigging [/i]that's a total PITA. It's nothing to do with hard work, it's about tedium, getting messed around and dealing with idiots. Hours of hanging around for one. City parking restrictions near venues. Arrangements bearing no relation to what you agreed. Sitting around in bars not being able to drink because of the playing and the driving. Sound guys not following the rider even though they've had it for three months (no monitors??). I spent an hour of Sunday evening just sitting on my rig out in the street because the promoter had given us the wrong load-in time. Then he let the band before us significantly over-run and let them stand around chatting on the stage afterwards, preventing us setting up, so our set-time (in the printed and electronic listings - it was a festival) was completely wrong and very late. As the icing on the cake, just as we were due to kick off, he announced that some urban artists (his mates, I assume) would be doing a two song showcase before we played. This basically killed the audience who were there for a world-music type programme. Just playing and recording definitely feels attractive a lot of the time. [/quote] Well there's gigging and there's gigging. Taking part in any multi-band experience organised by others means putting your fate in the hands of people who may be highly-competent, well-organised professionals. And then again, maybe not. I play these festivals from time to time, just for the craic, but I go in with eyes wide open and expecting sh*t treatment from brain-dead morons. For me, "gigging" means the pub & club gigs that I book with my main band(s), where we are the only act, we do the organisation ourselves, we supply all the equipment, and all we want from the venue is a crowd and some money.

Photonic Quantum Packets ... that's the way forward ...

I never really understood the lyric "[i]put on your wig hat baby, cos we're going out tonight[/i]".

My frontline rig for the last two years has been a TH350 into either a Barefaced 610 or a Barefaced Compact+Midget. My volume & gain controls are routinely more-or-less straight up and supply with more than enough volume to sit alongside a pair of electric guitars and a drummer who can't even spell "restrained". From your description, I'd say you were borrowing a rig with some major issues.

I played briefly with an old-school drummer whose kit was bigger than the rest of the band put together, double kicks, two floor toms, five rack toms (seriously), more cymbals than an occult convention. After our second (and final) gig together I took a close look at his kit before he broke it down. Four of the toms had heads that had never been hit, and most of the cymbals were as new. Go figure. Well at least he didn't have a 48" gong hanging behind him. *********************** At a venue where I've gigged regularly for years there's another regular band who are good enough that I go and see them on my "evening off" if they're playing. Their drummer has a similarly large & complex kit but he actually uses every bit of it, and in a tasteful sort of way. I mention him because he always gets to the pub a full hour before the others, so that he can spend the extra time setting up his kit and then mic'ing it up as if he is playing Glastonbury ... kick drums, overheads, clip-ons for every tom, the whole works. In fairness he sounds fantastic, but it's an awful lot of extra faffing for - I would have thought - a pretty limited benefit.

[quote name='Barking Spiders' timestamp='1507537422' post='3386057'] I'm surprised at the lack of love for slap. Not only do I love it but many of my fave players are well known exponents ... [/quote] Well there's your problem.

Sorry.

Yes.

Just so long as you can make it sound like a Precision ...

Good thing his music stand is out of shot ...

[quote name='TheGreek' timestamp='1507485144' post='3385796'] It is very well done - the back in particular... [/quote] Which is a bit of a shame, given how completely pointless that is.

[quote name='Al Krow' timestamp='1507403235' post='3385300'] Why loathe, if done well? [/quote] When done well, it's almost as good as a very limited drummer. I already know plenty of those.

Loathe it. If it's now dying out, I'll not be shedding any tears.

[attachment=255133:JD @ Ye Olde Swan (25).JPG] [quote name='discreet' timestamp='1507326538' post='3384865'] Get a wig to wear when you're with the GF... [/quote] Bin there, dun that.

Great trailer ...

http://youtu.be/hRq7j-BS1JQ

As Fender themselves put it: [size=4][color=#545454][font=Roboto, arial, sans-serif]Few rock bassists are as closely identified with fretless bass as [/font][/color][color=#6A6A6A][font=Roboto, arial, sans-serif][b]Tony Franklin[/b][/font][/color][/size] Who would actually buy a Tony Franklin fretted bass?

[quote name='Sibob' timestamp='1507130729' post='3383528'] I'd much rather enquire as to whether Serek Basses would make a 5 string version of their Sacramento bass: [url="https://www.serekbasses.com/sacramento"]https://www.serekbasses.com/sacramento[/url] [/quote] Quite possibly the worst-played and most ill-chosen sound clips I've ever encountered. I wouldn't buy a second-hand Westfield based on those clips.