Staggering on

Since the time the 9V in my Yamaha RBX750A died in the middle of a song at a NYE gig(wouldn't you know) I change the battery in it and my Yamaha SLB200 EUB every 3 or 4 months or even sooner if I feel nervous.The worst part was that there was no warning like less volume or intermittent sound ,it just went completely silent.Luckily I had a spare battery in my case and the keys player covered the bass part while I switched.It had never happened to me before so I didn't know what to expect but at least I was prepared.A bit embarrassing but I managed to recover OK and learned a good lesson.

You're right of course BassBus,but at this point I am hoping I will still be playing in ten years.Time to start looking for a stool maybe....

I play BG and EUB and always practice,rehearse and gig standing.I move around a lot when I play and simply can't get comfortable playing while sitting,even on a high stool.Ditto for guitar.This way there are no adjustments to the instruments or me.I have enough trouble getting things right when I'm playing and don't need other things to worry about-keep it simple,and I've been doing that for 56(I can't believe it!) years.

[quote name='Happy Jack' timestamp='1469217376' post='3096807']
Sorry Blue but that's complete tosh.

There was an attempt to provide a workable definition of 'covers' which was a dreadful oversimplification. The attempted definition existed independently of the size or type of venue. My point stands, and I'll make my own decision as to what is off topic.



[size=4]Amused to see you try to rescue dear Carole by describing her as a singer/songwriter and therefore not a band.[/size]

[size=4]So when The Beatles (remember them?) recorded Yesterday, were they a band or a singer/songwriter?[/size]

[size=4]Let me know when you've finished trying to nail jelly to the ceiling. [/size]
[/quote]
Good one Jack.
This thread is not just trying to nail jelly to the ceiling it's going in more circles than the "Playing for Nowt" thread-only 22 more pages of postings and we'll equal that one.Maybe we should talk about things that have actual answers,although I guess that ruins it for some folks.Let's see-the sound of one hand clapping,the falling tree in the forest(no noise if no one hears it?),the number of angels that can dance on a pinhead...the possibilities are endless.Maybe it's just my practical Taurus side coming through.I'm done,at least for now.

Hmmmm......I was thinking that you would be "payin" for your new gear before you start "playin".It's good that you get some pay when you play though,I guess we all have to pay to be able to play.OK,I'm done.

So I'm wondering if you meant "bass payin" or "bass playin",either way you can't do one without the other.Or,could be a Freudian slip....Have a great time,you sound like you're ready to have some fun.

Pretty much every day.I try to keep things fresh by varying what I do each time and spend from a few minutes to a couple of hours each time.I play my EUB most of the time since that is my main instrument when I gig but also play BG once in a while for variety.I mix in sight reading(Real Books etc.),scales,working on problem bits,trying different fingerings(sometimes good things happen),working my way to the dusty end of the fingerboard or frets,working with a metronome or Zoom B1on and playing along to recordings.I also try to find better lines in some of the music my band plays-always interesting since it is easy to get into a rut.No set routine,lots of variety and daily attempts to develop muscle memory and improve intonation on the EUB.I find a short session as often as possible works better for me than one or two long ones,besides it's fun.Believe it or not some days I play for a few minutes early in the morning before work and that does wonders for my attitude for the whole day.Also a good way to work through a sleepless night.

As posted in another BC forum we lost Rob recently.I first heard him playing with David Grisman in the '80's and was blown away-and at that point I was a guitar player and didn't start bass for almost a decade.Since then I have gone from BG to EUB(Yamaha SLB200) and still put on some of his recordings when I need some inspiration.He was an early proponent of EUB's and used them on many recordings along with acoustic upright.A talented player who was versatile and played many genres,a real loss.He knew what to do and when-the perfect combination for a bass player.I'm going to listen to some of my favourite Rob recordings today and then get out the bass and play for a while-what an inspiration.

Re silicone pad:
I'm in Canada and I'm sorry to admit I can't remember where I bought the pad.I have seen them in auto supply stores and discount stores but other than that I can't help you.Perhaps sumorabbit who posted above can give you some ideas about about a source in England.Good luck.

...a few minutes later...
I just Googled "silicone sticky pads" and found lots of products there,might be worth a look.

I solved the slippery upper bout issue on my SLB200 with a thin silicone pad (3.5x5 inches) that adheres with no glue and is easy to remove and leaves no marks.The one I use is sold as a device to keep phones on the dash of your car among other things.Cheap and easy.The top is a bit sticky at first but is harmless to clothing and after some use is soft and still provides lots of grip on your body.Once you get the pad in the right place it just stays there,mine has been in place for about a year.

I love my SLB200 and only have the upper bout.It is very comfortable and doesn't move.I play standing in a jazz standards combo and I move around a lot when I play and the SLB200 stays with me.I play pizz but have used the bow a bit and I think my poor arco technique is the problem,not the bass.Getting the instrument at exactly the right height is important to keep it in place,I experimented with different heights and when I found the perfect position I put a small hose clamp on the peg so it was always in the right place.Some people use a marker to put a line on it but the clamp is hardly visible and takes the weight of the instrument while the screw just holds it in place.Good luck.

I asume that the neck is not messed with when you relic a bass(this is not my world) but is anything done to the headstock?Scratched decal?Dings and dents?Removal of finish on edges?Do knobs and other parts on the top get any treatment?I guess a well used strap is in order too.Any raw wood exposed or is it all coated?It's an interesting project.
Waiting for a pic of the completed bass to see how it all works together.

[quote name='Woodinblack' timestamp='1464123591' post='3056811']
I love playing bass, even if I wasn't gigging. But I love gigging, its very enjoyable. My night last saturday with my new band was late, and it was fantastic. There was a whole group of people dancing and enjoying themselves. That was fantastic too, and they were enjoying themselves dancing to us playing music. And you actually get paid for it. What could be better!

ever you choose to use itBut ultimately, music is a gift how.
[/quote]
Yes!We are so lucky.

Ooops.Wasn't trying to be rude or disrespectful,just expressing an opinion and not trying to stir the pot like some people do.The last three words of my earlier post say it all-"different strokes.....whatever....",you do your thing,I do mine and we might not understand each other and that's OK.I'm a bit weird by some standards since I own and gig with a Yamaha RBX750A(anybody out there have one?) and a Yamaha SLB200 EUB and play through a Laney amp which is a rare thing here in Canada.Probably lots of people wouldn't get that either...and that's OK.Apologies to any one I have offended,I'll be more careful in the future.

Sorry,I just don't get it.Too old I guess.Then again I don't get severely distressed/ripped jeans either.Like I said in another thread about reliced basses, I might buy a "real" reliced instrument but not a fake one.Advertising and marketing win again,just like "distressed" new furniture.Different strokes....whatever....

I guess I don't get the "relic" thing,maybe I'm too old.Seems odd that an older bass or guitar(vintage-I mean real vintage,not a new "vintage" one)with some buckle rash and a few scratches or dings and a worn finish is cheaper than a similar instrument of the same age that is mint.Now we have a new bass that looks like something a lot of people wouldn't touch if it was old but will pay more for than an unreliced similar new bass.Maybe it's the new pups or other features,I guess it says a lot about the instrument business and what they need to do to get sales.
I say that as the owner of a Yamaha SLB200(2 years) and a Yamaha RBX750A(about 20 years) that are in near mint condition and gigged with regularly,so they have held their value.I also own a 1967 Gibson J50 guitar that I bought new in '67 and has been halfway around the world with me(literally)and has been played on hundreds of gigs.It has a few marks and some crazing on the top but is in perfect condition for playing-it is certainly worth less than a similar guitar in mint condition.
It is a strange old world isn't it, but business is business I guess and we will continue to spend our money and make the bass and guitar builders happy.To me it says a lot about the power of advertising and how fashions and fads can be created to boost sales,kinda sad actually since we're all part of it.We gladly pay for a reliced bass but we(including me) get a bit testy about a new bass that has a bit of wear from being in a shop...strange old world.

I have a Yamaha SLB 200 (silent bass) and it has a "hollow body" according to Yamaha.Although the hollow part is quite small it affects the sound a lot since the bridge is actually on the hollow part.It is audible when not plugged in but hard to hear in anything other than a very quiet environment but using an amp and earphones it's great.
Although a lot of people don't like the SLB 200 it works for me-with stock strings and pickups and running straight(or with a DI box) into an amp or PA.With some patience and careful use of the tone and volume controls on the instrument I get a pretty convincing upright sound-yes,I know it isn't the same as a real DB but the size and convenience are perfect for my needs.
I had a Stagg and it had a built in phone jack but overall the SLB is a much better(and much more expensive!) instrument.

Ah, very slippery as usual.Oh well...

[quote name='blue' timestamp='1460987903' post='3030403']
I'm not like "a lot of you"

Not having a day job allows me to do what I want when I want. I call it freedom.

I'm not punching a clock for anyone. And I'm doing just fine. I'm not rich but, I can eat ,pay my mortgage and all my other expenses.

Blue
[/quote]
I assume you show up for gigs on time,help set up equipment(or maybe you have roadies who do all the heavy stuff),then play the songs that the frontman or leader(not you) calls the way he wants them played(ie. follow orders),take breaks when told to,pack up equipment and load as part of a team,and then go home when the day's work is done.Kind of sounds like punching a clock to me,you're not "doing what you want" as long as you are part of a band and playing gigs and doing things that other people tell you to do.You are very lucky to be in the band you are in and play regular gigs,which seems pretty much like a job to me.The fact that you happen to like it isn't so unusual,a lot of people like their jobs.What happens if you don't feel like playing a particular gig or venue?Freedom-nope.
A busker who picks his place and time to play and chooses his own playlist is a lot more free than you and some buskers do very well financially.
That said, a lot of us have played full time professional gigs and have chosen other routes at different times in our lives-we have the
freedom to change what we are doing and still play music in whatever context we chose,it sounds like you are stuck in a band(which is apparently fine with you) and will have a real problem if it folds or changes direction and you don't want to be a part of it.As you have pointed out many times,it's a business so you still have to "punch in" to keep the job.You can call it freedom but anyone who has played full time in a band knows what it really is-a business with all the good and bad things that come with it.As soon as you join a band you have to compromise a lot things and that takes away some of your "freedom",it's part of the way things work.
I hope you can stay in a band for as long as you want to play or are able to play.
I will be 70 in a month and have been gigging since I was 14 in a variety of bands and as a single so I'm not just shooting my mouth off without having had any experience.I'm still gigging,learning new stuff and styles(got an EUB a year or so ago),and love being involved in music whether it's playing gigs or jamming(on bass,guitar,banjo or mandolin) with friends. I also taught music in secondary schools here in Canada and have played bass in everything from military concert bands to jazz trios-what a great ride I have had,just like a lot of members on this site-we are so lucky.
Good luck in "the business".

We agree-see my post.Keep it simple.

I have resisted GAS pretty well so I have only two basses and gig with both.We play mostly jazz standards with a few dance tunes and blues and old rock thrown in depending on the gig.I use my Yamaha SLB200 EUB most of the time and love it,although I know some will think I'm crazy.It is absolutely stock with no mods and I go into our Bose PA through a DI box and sounds great.My other bass is a Yamaha RBX750A(active pups)strung with flats and it also goes right into the PA.I've had the 750 for about 20 years(bought new),anybody else have one?With about 140 songs in our book these two work perfectly for me.I don't want to practise or rehearse on an instrument I don't use on a gig,too confusing for me and too expensive,and yes I have played other basses.

Thanks bluejay.I made some notes from the video but this is a nice tidy summary that's perfect for a quick reminder as I work through the exercises.So easy and it works-at least for me.
Bob

Good stuff Jack.Any chance the handout in your first video is online anywhere?I play EUB(Yamaha SLB200) mostly but also bass guitar and these exercises will help with both instruments,especially since the position and technique is very different from one to the other with each presenting its own problems.Thanks for the ideas.

Bob in Canada

In the Wrecking Crew video I think they claimed Carol on a Fender and two other bassists all played the same licks on the recording of Good Vibrations.IIRC there was a double bass and I believe a Danelecto.I can't check those details right now because I lent the DVD to a friend and he still has it.Anyone else remember that or have access to the DVD to check it out?

Not exactly on topic but close,a long journey to a song.
I was Living in Toronto Canada while at university in the '60's and playing folk guitar.A radio jazz show that I listened to each week had a great theme song but it was never identified by the host.One night at a club I recognized the host at a table near me me and nervously approached the great man and asked for the name of his theme song.He looked a bit annoyed and said "Sister Sadie,Woody Herman,very hard to find".That meant it was a rare recording and probably unobtainable for me in those days.The title stuck in my head and about 25 years after that encounter and many changes of residence and jobs I found a cassette of the GRP Big Band in a bargain bin in a small town store.I was ecstatic when I saw it had "Sister Sadie" on it and practically wore out the tape listening to it.The unison riff in the song is usually played by horns or keyboard alone but in this case the incredible John Patitucci played along with them at breakneck speed.I was in heaven and suitably impressed.Of course I figured I could never play that line,way too tricky.
I play EUB and BG in a jazz/standards/swing /blues quartet and about a year ago we came across the music for "Sister Sadie" and of course we added it to our set lists.My big challenge was to be able to nail the unison riff on both BG and EUB in an awkward key-A flat.I can't play like John P but most of the time I get it right even on the EUB(Yamaha SLB 200).We take the song at a blistering tempo and it is a lot of fun.You can check out various versions on the tube,but the GRP Big Band is a great one.You will find very few versions where the bass plays the riff.The fact that I can do it says a lot about how much time you want to spend figuring out the best fingering for it and then practicing-I am not a very good player but I am stubborn enough to learn that song and very glad I did.

So around 50 years(I can't believe it!) after I first heard that song and fell in love with it I'm in a band that plays it.On top of that I get to play that great riff on my bass,how cool is that.

Bob in Canada