xilddx

Looks like I'm on electric guitar duty in the jam room, to accompany any bass players who would like some drums and guitar to play with. If anyone has a powered monitor they can bring, like a Mackie SRM, to plug my POD into, that would be ace I will also furnish you with a bottle of something rather lovely for your trouble.

[quote name='Conan' post='963267' date='Sep 21 2010, 01:24 PM']Are you maybe reading a bit too much into this? [/quote] No. I am challenging common assumption and causing debate for the sake of future enlightenment of, and thereby furthering the cause of, the creative bassist who feels dictated to and in thrall to celebrated bassists who adopt the attitude that because they are celebrated must mean they are doing everything right and therefore so must everyone else. It's all perfectly straightforward really.

[quote name='gary mac' post='962897' date='Sep 21 2010, 04:05 AM']Love it and so agree with the sentiment.[/quote] What is the sentiment? To me it reads like a statement of fact and Tony Levin's opinion of it is not really made apparent. I might guess he agrees with it, but it's not explicit in the words. The only thing you shouldn't do with a bass is play stuff that's out of context, and even that could be the path to amazing music. So, what's the point of Tony's words above? Great though he is.

[quote name='Cosmo Valdemar' post='962382' date='Sep 20 2010, 04:44 PM']I have a copy of Bassist magazine from 1996 I believe, in which CS says he had his original Rick modified for stereo partially bicause of pickup imbalance, but also because his distortion pedal at the time sounded great with the neck pickup, but awful with the bridge. So you may be right![/quote] I believe that's the case too, I have a Bass Player with CS on the cover from a couple of years ago with a CS interview and I will check that.

K. I gave a good coat of the Tonetech pre-cat nitro Oly White to see what she looks like. And to see if the nitro-over-oil-from-the-white-spirit horror happened, thankfully it didn't, well not yet anyway. Jesus! That paint is touch dry in minutes! I'd also applied the Creative Cuts inlays earlier in the week, look nice don't they! There are flaws on the body, I will get rid of them.

[quote name='waynepunkdude' post='959644' date='Sep 17 2010, 04:36 PM']To be honest I think a mercy killing of that 'bass' should take place.[/quote] I was thinking more of the owner.

[quote name='waynepunkdude' post='959449' date='Sep 17 2010, 02:03 PM']Did they get blind folded before they made it?[/quote] And afterwards, I would think If you had made that thing would you want to look at it, or would you want anyone else to for that matter? Who's "Jean" anyway? And why would she want something that looks like it evolved at the bottom of the Mariana Trench?

I've been taking my time and doing a little bit of reshaping and sanding every other day or so. I got a cork sanding block and double sided tape and used 80 down to 400 grade glass paper. Over the last couple of days I have grain filled it. It's now ready for a quick blast of white nitro as a sanding sealer and to spot any flaws that need sorting. I feel sure there will be a few here and there. I'm going to do that this weekend.

[quote name='Doddy' post='959247' date='Sep 17 2010, 11:09 AM']I don't think it's sad. I'd rather play a gig that I don't particularly enjoy than get a day job. If you are making a living from playing it can be hard work,the same way as any other job can,and the gig you may not enjoy may be the one that pays your phone bill that month.......and it's still better than stacking shelves or putting cones out.[/quote] Understood. I just couldn't play in a band I didn't enjoy being in, or playing solely for the money. We are different kinds of musician in that respect. The idea of playing in a covers band is anathema to me, I would rather put out cones. I could possibly play in a tribute though. Luckily I have a career that pays me much more than I could earn being a musician, unless I was in a highly successful band. And I enjoy teaching health and safety much more than I would enjoy teaching music. I sort of need the bipolar life I lead, it keeps me sane. I bring my creativity to my day job and my organisational skills to my bands, and it makes both more fulfilling, I think.

[quote name='Dave Vader' post='959176' date='Sep 17 2010, 10:11 AM']I have officially sold out. I like getting paid. This is all (sad really )[/quote] Not at all. Getting paid to do something you love is success. It's when you do it ONLY for the money and do gigs you don't enjoy that it is sad. I never wanted to do that so I have a good day job career that is flexible enough to allow me to play in the bands I want to play in.

[quote name='Mykesbass' post='958773' date='Sep 16 2010, 08:21 PM']Nigel, just been listening to some of Kit's music - it is great stuff. I'm sure you get enough buzz from one gig were the audience really gets it and has a great time to make up for all the knocks along the way. I love playing - was most recently playing rock & roll standards with some C&W thrown in - I was getting a buzz from getting the root/fifth basslines to sit just right (not much else you can do with them)! But to be involved in something a bit special and with the level of artistic merit that Kit has must be very rewarding. Keep at it and I have my fingers crossed that some Umm and Err rep stumbles upon you one night![/quote] Thanks mate! Yes, I absolutely get a buzz, every gig, bar the odd one. Most of the time the audience really responds and we have a great time The gigs with Krupa are always great, the audience love her to bits, she looks fabulous on stage and can charm the bark off a tree. They are both a delight and an honour to play with. I sort of posted the OP to find out what it is that keeps us all going through some of the sh*t we have to deal with either side of the stage time. For me, what keeps me gong is that time on stage, making something lovely happen with people who deeply care about making great music and playing to people that are enjoying it. I just wish we played longer sets, we are usually on for 25-30 minutes and it flies by. I miss doing long sets with Doreen, they were often a journey that I got lost in, really magical most of the time. It's probably because I'm in my mid 40s and time goes so bloody quickly when I'm enjoying it

[quote name='bh2' post='958601' date='Sep 16 2010, 05:52 PM']Blimey silddx... the improv thread and now this... you need a holiday. [/quote] I'm doing most of my gigs with Kit at the moment, we are at the stage of building an audience and getting attention, and we've had a few like the one I described. But not many and it's really an amalgamation of some of the things that happen. We play most of the Camden Hoxton type venues and often with a couple of other acts. They are small but generally good venues with good sound.

[quote name='Doddy' post='958513' date='Sep 16 2010, 04:40 PM']I'll keep out of this,because my gigs are nothing like that. [/quote] A fair amount of mine are at the moment Still love doing them though! And the pleasure for me is playing really good original music with really talented people to an audience that really appreciate it, which is most of the time. I probably get two or three magic moments every gig. I think some of the pleasure of gigs has waned for me after playing live for a long time because I get absolutely no nerves at gigs anymore. Whereas in my youth, I have been known to piss myself before going on stage. I used to be petrified waiting to go on. Pre gig nerves are so nice, I miss them.

After you've had a quick run through the tricky bits you always get wrong on the night, packed up your gear, loaded it in your car or got it on the bus, unloaded it and set it up at the venue after waiting nearly three hours for the sound guy to arrive because you turned up at the time the venue told you soundcheck would be. Then tearing down so the other three bands can soundcheck. Setting it up again except you've got half the room you had before because two of the bands need to leave their keyboards on the stage. Not hearing yourself properly in the monitor mix and being blinded by one of the spots on the low pub ceiling which you can't get out of the way of because of those f***ing keyboards. Playing your gig knowing those eight friends who promised to turn up have not done so AGAIN. Finding stinking stale beer all over the arm of your expensive stage jacket as you realise the support band's guitarist knocked his pint over while you are coiling your cables. Having to get your gear off stage straight away instead of being able to enjoy a pint (which you had to pay for because the band don't get free drinks) and people telling you your tone is immense and you are the next Alain Caron. Hauling your gear to the bus stop for the long journey home where you have half an hour to enjoy a glass of wine while taking the strain off your back and feet and reflecting on the few parts of the evening's performance you CAN remember, before going to bed and setting the alarm for 6 hours' time to get up for your day job. Be honest, do you REALLY get a massive enough buzz playing in front of people for an hour to make all this worth it? What do you REALLY get from it? Do you think you have a choice? Music chose YOU remember, you have to do it anyway don't you?

[quote name='Earbrass' post='958439' date='Sep 16 2010, 03:38 PM'][duncan bannatyne] What would make your product different from those already in the market-place like MySpace or ReverbNation? [/duncan bannatyne][/quote]

[quote name='Kuniva' post='958325' date='Sep 16 2010, 02:04 PM']Can someone tell me what are the best suited strings for Warwick bass guitars? Its a streamer model[/quote] Fretted? Fretless? What kind of sound do you like? Have you got much money? What style do you play? Do you wear strings out quickly? What is your shoe size?

[quote name='Rayman' post='953653' date='Sep 12 2010, 04:02 PM']I just watched one of the "First Love" programmes, where celebs go back to thier roots and learn to play the instrument they played as a kid, and perform in public. The one I just watched was the one where Mark Radcliffe had to learn a Rufus Wainright track and perform it on the drums live on stage with him at the Manchester Apollo. All the way through Mark is misty eyed while remembering his youth, playing in bands with mates, and wishing he'd "made it" as a professional drummer rather than being the DJ he is now. Watching him walk up the stairs to the dressing rooms in the Apollo, it was like watching a starry eyed fan living a dream, and the feelings Mark had were the exact same ones I would have too. I had tears streaming down my face as he walked out onto the stage and perform the song brilliantly with Rufus. I felt like I was watching myself. I too feel I've missed the boat at 45 to live the dream, and that I'll never walk out onto the Apollo stage with a band, a place where I've been in the audience a hundred times. I don't know where I'm going with this. I'll never "retire" from music, I'll be in some pub somewhere when I'm 70, with a Precision, playing some old songs to a handful of people, but I do feel great sadness that I never tasted success as a musician. The closest I came was a Radio 1 session in the 80s at Maida Vale, and a couple of brief stints with a couple of "name" musicians. The younger players on here have got it all ahead of them, so they won't get what I'm on about, but you older guys will know [i]exactly[/i] what I mean. Ah well, back to work tomorrow.[/quote] I'm afraid I [b]don't [/b]see what you are on about. And I think it sets a very bad example that you appear to have GIVEN UP! At the pathetically young age of 45. If you think it is only your age that prevents you achieving success, then you are very sadly mistaken. There are so many variables you can't even imagine. I am sorry if this sounds harsh, but I think you have some personal issues to solve. Youth envy and lack of self confidence being two of them.

[quote name='Linus27' post='957263' date='Sep 15 2010, 03:05 PM']Ah so that makes sense, thanks Silddx. I wonder why they do this.[/quote] Because they are small and svelt and don't need a big old ugly body like a Fender to balance against that big old ugly Fender headstock.

[quote name='Linus27' post='955694' date='Sep 14 2010, 08:33 AM']OK, mmm, why does the neck feel longer and more of a stretch on a Warwick then? It has to be because it has more frets/another octave??[/quote] It is simply because the top horn on most Warwicks (Corvette, Streamer) only extends to the 15th fret not the 12th, so the fret under your nose on a Warwick is higher than than the one on your Fender, therefore the nut is about three inches or so further away from your body. Hence the stretch.

The GBs are truly lovely. I was also at the Bash and Bernie tweaked my Warwick too, it felt like a new bass afterwards and he only made very minor adjustments. I was very taken with his baby blue Spit. Loved it (except for the extra washing line on it).

[quote name='carlc64' post='954182' date='Sep 12 2010, 10:59 PM']I'm moving to London (from the US) this week, and have hopes I can get into a band & some gigs. I've lived in the UK (Oxford) before and had a car, but didn't really plan on a car in London (don't even know where I'll end up - probably west i.e. Notting Hill Gate etc). Do you find that you can get around the tube or buses fine for practice & gigs or do most people have a car? These days with a gig bag and tiny amps/combos it seems feasible to use public transport (although I've never tried it!).[/quote] Absolutely no problems for me getting to all my London gigs on the tube. I carry my bass and my POD. If you have a small amp, get a suitable trolley and wheel your rig on the tubes and buses. Most venues in London are within half a mile of a tube station at the very most. I cannot be arsed to take the car, looking for parking, no drinking, etc.

[quote name='waynepunkdude' post='952827' date='Sep 11 2010, 03:44 PM']I agree a lot have thought has gone into them but in the case of the Gus' I'm worried about what kind of thought and whether you should bring that kind of thought to work with you.[/quote] TBH, I'm a bit tired of the counter arguments that go "Everyone's different, we all have opinions, if we were all the same it would be boring", yadayadayada. What's wrong with healthy disagreement and slagging of some stuff.

[quote name='JFielden' post='952012' date='Sep 10 2010, 05:06 PM']Now then, At this point in my life I know that I want my profession to be in music. But how on earth do you make a living in the music industry? I know that it is a long road for most musicians but I am young and lack experience =( So how does someone make a living with music? Personally I enjoy sound tech and I am currently doing a two year course in Music Industry. Please enlighten me my fellow Bass players. Feel free to share your own personal stories and leave tips and advice for young ones like myself, who wish to enter the music industry! Cheers![/quote] Crikey, big question! All I can say is I decided a long time ago I [b]never [/b]wanted to be a pro. Way too much hassle and dealing with disorganised idiots on a constant basis. I am very happy balancing my day job and being in a few excellent bands. And it works for me. Making a living in music is difficult unless you are happy to be a mechanic, and a damn good, highly reliable one at that. The other route is to become part of a best selling band and ensure you get a cut of the songwriting credits. If you can write hit songs, get a publishing deal and make a fortune. Good luck!

[quote name='Chris2112' post='951971' date='Sep 10 2010, 04:23 PM']I'll add to the list anything which has been sloppily modded or made to look "punk". This includes stickers, garish paint jobs, dodgy scratch plates along with the woeful playing associated with these types of instrument. And hollowbodies, yuck.[/quote] I'm a fan of the Kubickis, I'd love one! In white of course.

I quite like the Ovation! The one at the bottom is seriously ugly though, and I mean that have to admit the fingerboard is utterly gorgeous looking though!