Nicko

I'm interested to know of any off piste covers that work well. We do 90s and later mainly alternative with a tinge of punk but we're not really genre specific just wanna play songs that people enjoy. Amongst the usual Oasis and Kings of Leon we play Weezer's Buddy Holly which is a great song and goes down quite well, and Bang Bang by the Dirty Pretty Things which the band love playing but it always seems to bomb a little. I was looking at stuff like Bowling for Soup's Girl All the Bad Guys Want, NY City Cops by The Strokes. Something by Greenday that isn't Basket Case? Any suggestions along similar lines?

[quote name='colgraff' timestamp='1456522425' post='2990099'] My dissertation was on non linear dynamical (it's every bit as sexy as it sounds!). At the time there was some academic interest in the way gossip spreads but no one had managed to find a mathematical model which could be a useful predictor of conversational patterns. [/quote] Surely that will be a Mandelbrot fractal? Eventually the pattern will repeat and Blue will explain why the Beatles changed the world.

If you actually go to another EU country and buy in person you can bring it back to the UK without any additional charge as long as they are for your own use.

[quote name='RAY AGAINST THE MACHINE' timestamp='1456475964' post='2989322'] Yeah, it's lost in translation . Th o p has probably left this thread . Shame [/quote] No I'm still following. I read an interesting book on chaos theory once (whats not to enjoy?) and this is kind of the butterfly effect in forum form.

[quote name='4stringslow' timestamp='1455888223' post='2983319'] No disputing that Wings were commercially the most successful of the solo Fab's work, just that I personally preferred Harrison's solo work. Which is slightly odd since I saw Wings live but never did get to see Harrison The 'Concert for George' DVD remains one of my all time favourites. [/quote] We should never confuse commercial success with musical talent or influence on subsequent artists. Celine Dion would be way above Bob Dylan on commercial sales.

American Special PB, I'd worked a 75 hour week on a business trip, and had a free day to visit the guitar shop before my flight home Peavey cirrus first bass, bought on a home leave visit to take back to the desert cos I was borrowing a bass there. Littlemark 250 Blackline, doesn't need justification. small, light, and more than I need playing in a pub covers band Markbass 210 traveller. as above Ashdown Mibass cab. Bought as a small light cab but wasn't really man enough. Is good at collecting dust and getting in the way. Small practice amp thingy what I used to practice on before I got my own gigging gear Pedals, apart from the tuner are completely unnecessary, but they give me additional sounds without too much effort, and look nice with all those LEDS.... The six string stuff: Patrick eggle new york stage. My first proper guitar. Fender Texmex Telecaster, upgraded with SD electrics. For that single coil sound S&P SP6 spruce. Honestly I only went to buy some strings and came out of the shop with it. Fender Sonoran thinline acoustic electric. Fancied a plug in, and it was ridiculously cheap HH 100 VS amp hand me down from my older brother, the matching 4x4 was wrecked and scrapped long ago

Not sure the punters were slow dancing last time we did slow numbers. More like trying to cling to something upright.

[quote name='PaulWarning' timestamp='1455791573' post='2982410'] once saw a programme about bands breaking up and one guy said something like "the reason bands break up is because nobody ever says what's really pissing them off early enough and it just festers till there's a big argument and it results in a break up" in my limited experience that is true, so I resolved to tell people as politely as possible when something is annoying me with my new band, it's worked so far [/quote] Thanks for all the advice guys. Given the nature of the beast I reckon this might be the approach to try, and ultimately if we can't have a civilised conversation then it will end badly. The band is there for fun, and I'm not really feeling any at the moment. We had an absolutely appalling rehearsal last night in the run up to a gig, I think everyone was poor and maybe the problem is now affecting more than just me. I would say I'm friends with the rest of the band. He was the last one in, and I'm not sure he has really gelled with any of us. He doesn't stick around much after rehearsals and keeps himself to himself during breaks so its difficult to understand how I would form a relationship with him. Worse still I'm not sure I want to. I agree its a bit of a problem not having a leader. If it was my choice he'd be gone already. The alternative is speak to the rest of the guys and see if we agree to sack him. I really do not want to threaten him or me. I suspect if I give the choice then I'd be on firmer ground, but I'm not sure I want to put the others through that without trying something else first.

OK, so our rhythm guitarist seems completely unable to listen to the band and only capable of listening to himself. He will not take any criticism from the mere bassplayer because its my job to play bass not tell him how to play guitar (I'm an ex guitarist btw), and he doesn't take kindly to the others suggesting improvements either. A couple of examples: I say, you need to cut that chord dead/mute your strings otherwise it doesn't sound right. He goes on a 15 minute rant about how he would never dream of telling other members of the band how to do their job. I successfully bit my lip when he suggested it was always him that got it wrong. Its not, its just when other band members get it wrong they generally pull a face as if to indicate "yeah, I know, sorry about that" Guitarist says, I don't think that's the right note. I think it goes E, E, B, E,D or whatever. No says rhythm, I watched it on the internet and he plays it like this. It sounds wrong says the guitariast. My tab agrees with the lead player. They are currently agreeing to disagree on this. Me: You're a bit loud. Him, Oh its me again getting it wrong. its always me isn't it........ I cant hear myself. Moves position in room, doesn't turn down. He complains that we don't blow smoke up his a** when he get it right. Generally unless we have been struggling with something in particular we kind of expect the others to get it right. Anyone who has seen my posts here will know I'm pretty blunt speaking. If it was just me I'd kind of know how to deal with it.I suspect this all stems from me criticising his incessant noodling after we'd set up one night. I did the decent thing and criticised everyone for things they could have got better (including me). It took a long time to get a settled lineup. The band is pretty good, but all of us are really seeking a level of quality that appears beyond a guy who won't accept constructive comment. He obviously works hard learnng the songs and does add something extra to the band. Playing without a rhythm guitar isn't really an option given the setlist anyway. I should say the rest of the band is pretty laid back except when it comes to the quality of the final product. We don't really have a leader as such, just all chip in as we need to. Short of walking any ideas on how to address this?

[quote name='bigjohn' timestamp='1455647175' post='2981121'] I grew up there. It's not caught up in the past any more than anywhere else to be fair. It's just the same as people coming to London to go to Tussauds or the Tower or whatever. You don't notice less when you live there than you notice adverts for musicals on the Tube in London. Much like London, there are plenty of other reasons to visit. [/quote] I hope you are right, but the article in the OP suggests otherwise.

I haven't spent much time in Liverpool, but it must be very sad to live in a place that is so caught up in its past, or more accurately one aspect of its past. It was a great trading city with a people full of humour but who have a reputation of being a little bit, erm emotional. There a few other places in the UK that are known for such a narrow slice of their past. As far as I know there is no tribute to the Rolling Stones in Dartford, there isn't a huge number of roundals in Woking, and I'm not sure theres many punks left on the Kings Road.

Thanks Jack. So do we. Thats why I'm currently rearranging ours for Saturday.

I guess the general wisdom says start hard, soften it up a bit and then hit them hard for the finish. So do you space slower/softer tunes out or bunch 'em all in the middle?

I have a TC polytune mounted on my board. And an old Korg GT3 for when I cant be arsed to set the board up at home. When learning new stuff or practicing at home my ears are generally good enough.

To me this is a bit like asking which circe is most round. I don't think bass is cool to non bass players. There' are basses that look nice, and those that don't. None are cool. I Like PBs, because they are functional. I dont think they look particularly good. But they look better without tort. And to the subject of "depends who is playing" I give you the one and only Bootsy. Cool basslines, uncool costumes, very ugly basses.

As a spotty teenager I waited outside the stage door after a Saxon gig. There were about ten of us there. Biff and the boys opened the door, and invited us in for a chat. We were with them about 20 mins in total. They were just normal blokes having a laugh.

[quote name='bassman7755' timestamp='1454437303' post='2969758'] Presumably you only use apple kit and wear a scarf indoors ?. [/quote] Erm, no - quite the opposite. I am steadfastly non apple and prefer my neck to be "au naturel" I'm not a tech worker either.

[url="http://www.bbc.com/news/business-35460401"]http://www.bbc.com/news/business-35460401[/url] I'm far too old, but I'm definitely showing some signs of taking this approach. 1. I take as much holiday as I can get away with 2. I work the hours I need to do the job, not a rigid 40 hour week 3. I no longer feel the need to get promoted, I took a demotion a few years back 4. I don't possess a wearable tie and was relieved that neither of the guys that interviewed me were wearing one 5. Social media in work time, Why not, sometimes I do work in social time too. Unfortunately, I don't work for Virgin, and my "employer" doesn't really approve of my attitude. This is the reason I'm an agency worker in the first place

Damn, I'm more confused now than I was before. My simpleton take on modes has always been "it ain't the notes you play, its the notes you resolve to." Yes, the chords change, yes, the theory is is a bit confusing but ultimately use your ears. When someone mildly interested in music theory asks me about modes I tell then to check out something like Knights of Cydonia by Muse. It has a feel that you cant replicate with traditional majpr/minor harmony. For those that know a bit of theory they should all understand the difference between Am and C major. These are simply two modes of the same scale and share the same notes.

I didn't feel the need to make any neck relief adjustments but judging by the intonation adjustments required I'm guessing these strings are putting a lot more tension on the neck.. The strings are pretty bright compared to the old set (not a surprise considering how old the they were). I am noticing a bit more finger noise. I'm not really noticing the D and E strings feeling much different at the mo so even if they don't improve the balance I would say these are OK to play. Haven't played through a proper gig size amp at volume yet or with the rest of the band yet which should tell me a bit more.

Technically not much too it, not many notes either, or even anything particularly fast. Its a bit difficult actually picking the bass up in the mix and an absolute b*****rd to play properly. That is all.

They say if you play left handed it will feel like somebody else's bass.

I try to look after it, but short of leaving it in its case it will pick up a few knocks. I fail to see the point of leaving your "best" bass at home and gigging a lesser instrument just in case. I have a black P. It really isn't a thing of beauty anyway - its a lump of wood that happens to sound good. I also have a six string lead guitar that's never been gigged (mainly cos I'm a crap guitarist), but after nearly 30 years the fingerboard is worn in places and the natural stain has all but disappeared where my arm rests on the body. I reckon its got character.

Mine are set to off as I've never found these add anything to my sound. I reckon they should remove the circuits, offer this as a stomp option and make the amps cheaper. Discuss....

[quote name='Lozz196' timestamp='1452970502' post='2955254'] Yep, rounds for sure, and a 50 will add a fair bit of oomph. If you tend to play on the D & G a fair bit it may be worth doing a "hybrid" and getting 50 & 70 for those two, then keeping 105 & 85 for the E & A (means ordering two sets of strings though, unless you can buy singles on your fave brand). I`ve found on a Precision that seems to even things up a bit,bassing up the treblier strings, which also have the pickup nearer the bridge (never worked out why Fender did this). Have to admitthough, nowadays the D & G are pretty much decoration only for me. [/quote] The reason for the question was a[size=4] [color=#4D4D4D][font=Tahoma, Arial]EXL160 Nickel Wound Bass, Medium, 50-105, Long Scale come with 105, 85, 70, 50 as opposed to the original fit fender 7250 which is 105, 85, 65, 45. Quite a few songs I play use the D and G string a lot, and the balance isn't quite right. I'm also assuming I wont need to adjust the nut slots for these.[/font][/color][/size]