SteveK

[quote name='pete.young' timestamp='1396182658' post='2410670'] [b]Where do you draw the line?[/b] A bass guitar is a simple machine for tensioning strings and converting vibrations into electric currents. All instruments are machines which need operators, and you are hearing the mind of the operator through the machine. [/quote] I wouldn't! If I attempted to 'draw a line', and explain the whys and wherefores of where that line is, something would come along and surprise me, necessitating the drawing of a new line. The drawing of lines is best left to architects, not musicians!

That would explain why Pino never gets any gigs

I noticed a slightly higher level in places on the last clip, I put it down to playing inconsistency. However, If the D & G [b]are[/b] louder, then screw that P-up down a tad.

Sounds ok to me. How are you listening to it?

[quote name='Zenitram' timestamp='1396037186' post='2409388'] But you surely couldn't say that Trevor Horn or any other innovator [i]relied[/i] on machines... but rather they unleashed them, tapped their potential, no? Got creative and produced amazing music that no one had thought of before. [/quote] Yep! He got the balance about right. [quote name='jezzaboy' timestamp='1396044408' post='2409503'] And I managed to spot, that was Guy Pratt with Icehouse at the start of the second clip. [/quote] And my very good friend Andy on keys.

[quote name='BigRedX' timestamp='1396031197' post='2409296'] But Relax isn't really reliant upon samples in the way that we now associate them. [/quote] Absolutely, but we are talking early 80s. I believe TH made use of the Synclavier or Fairlight on Relax. Actually, it's not really samplers that I have a problem with, it's more the reliance on machines .

FWIW I think Relax was a godawful song (as proved to me by Happy Jack's link), but was a fabulous record, mainly thanks to Trevor Horn's utterly brilliant arrangement and production. BTW I'm not generally a fan of this type of record, or any music that is reliant on samples, but Trevor Horn pulled it off, big time!

[quote name='discreet' timestamp='1396011376' post='2408981'] Proving that good production is mostly subtraction, not addition. [/quote] You're being ironic... right?

Unfortunately, having your bass at the perfect height for your fretting hand will mean a far from perfect height for your plucking hand, and vice versa... bass height is a compromise. You can minimise the discomfort on your wrist by making sure that the inner lower part of your plucking arm is not resting (or close to) resting on the bass, and moving your elbow away from your body, this should reduce any angle between lower arm and wrist.

[quote name='Toddy' timestamp='1394452862' post='2391407'] I have a USA 97 Jazz,,strung thru, and to be completely honest,the bridge is off centre, [/quote] When you say 'off centre', do you mean off centre to the pickups, or off centre to the neck? It could be the neck has been knocked and is out of kilter. May just need realigning.

[quote name='Damonjames' timestamp='1394308404' post='2390219'] I'd disagree with bang for your buck, as I said in my previous post, and support the OP on this part of this argument, that NO amount of lessons/technique will get you flea's sound on BBSM (for example) if you are playing a passive P bass. Technique is a massive contributor I agree, but if you want a particular "tone" you need to start with the right ingredients. [/quote] If I were inclined to want to sound like Flea, the first thing I would attend to would be his technique: studying albums, getting info and watching video clips, and making sure my chops were up to the task. As far as [i]what instrument to buy?[/i] - I would be stumped... Of all the Chilli's albums and numerous basses he's used, which one has Fleas tone? [quote name='Damonjames' timestamp='1394308404' post='2390219'] To use an analogy, Sebastian Vettel is one hell of an F1 driver right now, but put him in a Renault, is he going to perform at the same level? Most likely not. It's all apples and oranges. [/quote] it's not a good analogy.

I assume when the OP talks about 'tone', he isn't just referring to making the sound woollier or tinnier by twiddling with the eq knobs on his amp/bass. 'Tone' is about a whole lot more than eq [quote name='Fionn' timestamp='1394195513' post='2388997'] Sure, "[i]the fingers[/i]", those endlessly minute intricacies and subtleties in touch and technique are huge in the equation ... [/quote] Absolutely, and it's amazing the number of bass players that underestimate just how important "the fingers" are in creating tone. Many will spend hours/days/weeks researching, and thousands of pounds on gear in their quest for 'THE TONE'. You will likely get more 'bang/tone for your buck' if you spend the time and money on good quality lessons and solid practice.

As Conan says, I doubt you'll notice much, if any, difference by replacing the bridge. Having said that, I'd go for something aesthetically pleasing with a quick string release.

Had the pleasure of having Pete Cox sing in our band for a couple of years (2009-2011). Lovely guy with a lovely voice.

If 'reading the rhythms' is what you want, then I can highly recommend [url="http://www.amazon.co.uk/Modern-Reading-Text-For-Instruments/dp/0769233775/ref=sr_1_1?ie=UTF8&qid=1393464511&sr=8-1&keywords=Modern+Reading+Text+in+4%2F4+For+All+Instruments"]this book[/url]

I've never used the volume control on a bass as anything other than an on/off switch.

[quote name='spacey' timestamp='1392842278' post='2373475'] Top of the pops was pre-recorded recreated tracks in studio and then mimed or just the vocals live. Some where re-mixed from master tapes. [/quote] More often than not though, the band would just totally mime to their record. There were rare exceptions, however.

I think I'd keep looking and do without trumpet for the time being. You're a 7 piece so assume you have keyboards - couldn't he cover the trumpet parts for now?

Had the good fortune of playing with TOTO many times over the years. Hearing Africa live is always a 'goosebumps' moment. These chaps certainly do it justice - nice one!

[quote name='xilddx' timestamp='1392206053' post='2365878'] I do plenty of gigs with unlimited reduced price guest lists. I would say most of the audience were on those lists. Maybe that's what she meant. [/quote] That is the more likely scenario. I think this Kate was deliberately misleading with, "How are venues going to make money when fans expect to [u]get in for free[/u]?", or at least, attempting to be an authority on the subject. Promoters aren't stupid, maybe ticket sales were slack, and maybe he figured a house full of friends at half price is better than dozen a full price.... who knows..? Again, I'd be interested in the booking details.

[quote name='Dad3353' timestamp='1392147734' post='2365370'] If we get given money (happens often enough...) we give it away. [/quote] Tell me about it! HMRC are f***ers aint they(?)

[quote name='flyfisher' timestamp='1392132129' post='2365118'] The programme suggested that it was a space thing. Many of the venues they were discussing are very small so the guestlist ends up restricting the paying punters = less revenue. So it was claimed. [/quote] OK, thanks I've had a listen to the show now. I think Kate (couldn't make out her surname) is talking nonsense. It's highly unlikely that a promoter would put on a show where "most of the tickets were guestlist" ... unless the promoter is (or connected with) the artist. I'd be interested in seeing a few details of that gig.

Even with 'established' bands, there is a fairly common procedure, whereby, band members will get 2, or maybe 3 free tickets, and additional tickets will cost 50% if it's a largish venue guaranteed to be sold out, then of course, the promoter may well be a little more generous. I don't see how the question of guest lists/complimentary tickets (call it what you will) impacts on a venues ability to survive.

Depends on the type of band and venue... Fact is, only a small number of musicians are any good at the on stage patter (despite what they may think), so I'd advise - keep it to an absolute minimum. IMV 3 or 4 numbers virtually segued (no patter) is the most professional approach. Thereafter, maybe a couple of lines of light-hearted,worked out patter, so the band can take a sip of water and adjust tuning etc. If you have to rely on spiel to make the audience feel 'included', then you've got other problems. However, if you're a fun, covers, function type band, then scrub the above, but even then...keep it short!

[quote name='discreet' timestamp='1391971776' post='2363158'] Wheee! Let's have a big Beatles v Stones argument/rant!! [/quote] There really is no argument - I mean... Don't recall The Fabs ever recording anything by Jagger/Richards. Back o' the net!!!