Nicko

[quote name='Bilbo' timestamp='1425899002' post='2711871'] I may be in a minority here but I cannot see the problem with these shows (the Voice or The X Factor). They are about the full package; voice, looks, dancing, body image, presence etc. So what? THAT is what the world of pop music is about and anyone who thinks it is about integrity or pure artistry is kidding themselves. If Waynetta Slob got up there and sang like a God, there would be a discussion about whether or not she could be cleaned up and rendered presentable. If not, end of story. There are dozens of old artist of yesteryear who were great singers but who, for all sorts of reasons, never made it 'big' in any mainstream sense; instead they had long careers as 'B-listers', cabaret acts, musical theatre or in other marginalised genres. For someone to make it in the [b]mainstream[/b] music industry, they have to have the whole package. It is not really that different in Jazz (the source of all purity). Every Jazz festival is nowadays headlined by what I call 'nearly Jazz'; Gregory Porter, Jools Holland, Van Morrison, Jamie Cullem etc etc - if you take a genius musician like, say, Kenny Wheeler, you cannot expect the kids who love to look at and dance to Justin Beiber to sit there, stroking their chins, watching a portly 70+ year old in a cord suit and loafers, standing there playing his horn, even if it IS magic. Same with Rock. Imagine a man with Albert Tatlock's looks and Graham Bonnet's voice? Would he be selected to front a reformed Journey? Of course not. In a world of visual imagery, the look is part of the deal. These shows are looking for mainstream artists and there are lots of different formulas for what that looks like (that is the art of it) but, to me, the approach as some integrity in it's own field of operation (those battles in The Voice last week, for instance. I knew who won every time because, prejudices aside and with a small degree of subjectivity, the better singers came out on top). For those who pass through and who 'lose', there is still an industry that can accommodate them e.g. Jonathan Antoine as a classical tenor, Rhydian Roberts in musical theatre, Susan Boyle in her field etc. These people are all perfectly credible and certainly have as much right to be out there as I do but they are unlikely to be on MTV any time soon. More to the point, lots of the winners have disappeared into obscurity for the same reasons. Voice aside, they could not cut it.. [/quote] I agree 100%. My only issue is the amount of coverage that the contestants get compared to people doing it the hard way. Desn't mean the end product is actually any good, but then theres some mainstream stuff thats also a load of crap as well. I dont know whether some of the contestants would ever darken our airwaves without shows like this. I mean, someone ilke Olly Murs, maybe he can sing a bit but he's not exactly on the upper end of talented is he? But, go back through history and theres plenty of OK artists that got hyped up into to the big time.

[quote name='jahfish' timestamp='1425418292' post='2707209'] this topic is a CAN OF WORMS! It's a choice between good technical bass playing and disliking the style of music the band plays, two different things? [/quote] Not really what I meant - I was really talking about bass lines you really enjoy on tracks you don't so for me Rush doesnt count cos although Geddy is great technically I'm not into either the bass lines or the finished article. .[quote name='odysseus' timestamp='1425419611' post='2707246'] Jamiroquai sort of bypassed me first time around, then someone suggested I listened to their bassist. I love his stuff, and I'm growing into the whole band now. Not quite what the OP was about I guess, but yeah. [/quote] Yep, I guess thats the natural progression for some bands.

Yep, its all crap and I blame the internet. Gone are the days when you could queue up outside a venue and actually buy a ticket on a first come first served basis. Now its the big agencies selling a bare minimum of tickets to joe public and retaining most of the tickets to sell at a big markup through their "partner" site. Its basically legalised touting. If the artists really are as popular as it appears, they'd play more gigs wouldn't they?

[quote name='leftybassman392' timestamp='1425323621' post='2706235'] Anybody mentioned 'Summer of '69' yet? It was one of our staples during my pub band days in the Northampton area ('Tango With Dignity', thanks for asking) - so much so that some of the locals at our regular pubs would get uppity if we didn't play it. [/quote] If thats the case I'd be leaving the covers band and joining an originals band. Its one of my "red lines". Absolutely hate it.

I dusted off my old DR5 drum machine. I've never successfully programmed a song into it bacause I struggle to develop anything other than simple patterns anytime I try to add a fill it just ends up sounding horrible. I think the problem is that I'm not thinking like a drummer plays. I'm only looking to get to the point where I can demo a track to the rest of the band at least initially. I spoke to a few drummers who tell me the best way to program these is in step time, prefearbly thinking in terms of drum tab. If you guys agree this is the way to go can anyone direct me to a beginners guide to drum tab? If you have any better ideas by all means throw your hat in the ring. Thanks N

All, Thanks for all the advice and suggestions. I ended up with a micro POG which seems to be doing the trick just fine in the few sessions I've used it. As far as the greenmile goes Its still on my board - its really not that bad provided its on its own and the drive is not set too high, but I guess taste is subjective.

Live gigs by The Strokes even in the US are a little like the proverbial rocking horse poo. I'm convinced its part of the reason they're IMHO the coolest band on the planet. And I have a ticket them headlining Hyde Park this summer. I'm excited already. So I was wondering who are the bands that you're looking out for at the moment - I mean those that are difficult to get to see.

I was once in a band with a lead guitarist who got a bit pissed, He tuned up using his new (chromatic) tuner, so all the strings are pitch perfect, just not in any recognisable order. We were playing Long Train Runnin' and the rhythm bass and drums had all come in before he started playing what should have been the lead line. He was too pissed to notice but the rest of the band and at least some of the punters weren't. Never, ever stop once you're started as they say, but boy it was bad and I couldn't let it go on. That was the last time I played with that guitarist and I believe thats the last public performance he ever gave ater maybe 40 years playing. I found a recording of the night a few weeks ago and its as bad a s I remember.

[quote name='Roland Rock' timestamp='1425040465' post='2703272'] The winking smiley was supposed to denote that it was a joke. Obviously I don't know you at all, but it's worth at least thinking about the fact that you are the common factor in all of these failed bands. It was supposed to be hyperbole, and I wouldn't dare actually speculate about you being an insufferable ballache, or lacking a sense of humour or whatever. Best of luck. [/quote] I took the original post as a joke, but the response from Solo indicates that maybe you were right. A sense of humour might be as important as being able to play properly. I'm not having a dig, but it is actually worth asking if the problem lies close to home.

[quote name='ras52' timestamp='1424871043' post='2701373'] I bought an EBS MultiComp for exactly that reason! [/quote] Me too

Am I missing something? Surely the point of an effects pedal is that it changes the sound when its not bypassed.

[quote name='JTUK' timestamp='1424777295' post='2700254'] I hate it when a gtr suggests a drummer...and if he is a friend, look out BIG TIME, as this means the gtr or proposer wants him in at all costs. Most gtrs players would not know a drummer for love nor money, IME...so I make sure it is a band vote on such things and even then... it is still very dodgy. [/quote] Bass player should always have the final yes/no on the drummer. If the bass cant gel with the drums there is no hope. I dont think the other band members realise how important the combination is until its not working.

Not sue that drummers are any moe difficut than guitar or vox to be honest. Maybe as bass players we'e more in tune with whether a drummer "works" or not.

[quote name='ubit' timestamp='1424499870' post='2696930'] I can't say I've ever hated a band that much and loved the bass work. Usually the bass will make me like them. One band that sticks out for amazing bass and slightly , meh... Songs, and I'm surprised no one has mentioned them, is Madness. Some of the bass in their early stuff , is immense. [/quote] Thats kind of my take on it. I might listn to some fairly lame music, just because of the bass. Was listening to Placebo the other day........

I foolishly started this thread [url="http://basschat.co.uk/topic/255914-noel-on-kaiser-chiefs/page__st__30"]http://basschat.co.uk/topic/255914-noel-on-kaiser-chiefs/page__st__30[/url] which seems to have become something I didn't intend What I should have asked is are there any bands you really can't get on with but wish you could because the bass lines are awesome. So its basically a bass player love in not a slag off the band thread! I started the other thread with Kaiser Cheifs another example would be Maroon 5.

[quote name='Bassman Rich' timestamp='1424271372' post='2694578'] I cant get bold turned off!!! Help! But whilst its there, also can't believe I've got this far throught the thread without 'summer of sixty bloody nine' coming up. My own personal 'no way jose' one. [/quote] There you go I can confirm it does appear in the setlist/playlist discussion.

I was working in the middle east, living in a portacabin. The place was pretty much an open prison camp. There were 2 bars and a gym on the camp. Outside the camp was desert and the nearest town was 45 minutes away and the nearest bar was 2 hours away. The house band were looking for a bass player to dep for thir normal bloke. I said "I play a bit of guitar, I'll give it a go" because it was something to do. I played my first gig with them about 3 weeks later on a borrowed bass, and they saked their regular guy right after that. Its the only think that kept me sane for 18 months. I haven't looked back..

[quote name='louisthebass' timestamp='1424165602' post='2693245'] Where the "hand hanging off" is concerned - it sounds like there's a lot of tension and you may be "digging in" too hard. Try and keep your hand more relaxed, and you should be able to get through without a lot of fatigue. Playing with a lot of tension could lead to problems later on (RSI). In respect of alternate plucking (fingerstyle), it's just a matter of concentrating on getting it really clean - I've been using the exercises in this video and it's really helped me clean my fingerstyle up: [url="https://www.youtube.com/watch?v=PHikLbUBCY4"]https://www.youtube....h?v=PHikLbUBCY4[/url] Hope this helps? [/quote] Its more the muscles in the forearm that are the problem, but I'll keep an eye on it.

[quote name='EliasMooseblaster' timestamp='1424191456' post='2693669'] Last I heard, Ricky was having to make some extra money on the side providing a voice for those in-car Sat-navs... [size=2](..."I predict a right, I predict a right.")...[/size] [size=2].../gets coat[/size] [/quote] Surely not. Wouldn't want to drop off listening to the directions

[quote name='discreet' timestamp='1424175165' post='2693407'] Well there's not much you can do about that. Let me rephrase: [i]Playing covers is about replicating the original as closely as possibly given your band's line-up and available instrumentation, but this is no excuse for not learning it properly. [/i]Having said that, a decent keys player can go a long way with brass and strings and so forth, but try finding a decent keys player, I know, I know. [/quote] I guess we'll have to disagree on that. I do agree on no excuse for learning it properly. Dont really want to mention musical competence to the band, just in case they start pointing at me

[quote name='discreet' timestamp='1424172196' post='2693342'] Playing covers is precisely about replicating the original - that's what punters are expecting to hear and that's what you're being paid to do. 'We do our own version of it' is code for, 'We can't be bothered/aren't good enough to learn it properly'. As per my previous post - that's why I'm not in a covers band. [/quote] Well, yes and no. We're being paid to give people a good time, not play precisely what they can hear on a CD. We're a 4 piece covers band with one guitar and no keys. Playing precicely whats on the record would kinda limit the set list. It definitely doesn't mean I cant be arsed to learn it properly.

I dont think theres anything wrong with making life easier, but you have to use your ears to see whether the tab is right. When I took lessons a few years back we did quite a lot of work on ear training but for complex lines my aspirations exceed my talent. I'll generally get a copy of the tab and read it through loads of times as I listen to the track with a pen in my hand and make corrections as needed if its close enough. This works for most tracks and I can normally tell whether its a good or bad tab. Playing covers shouldn't be about replicating the original precisely anyway, if someone says thats not how it goes they get "thats how it goes when I play it".

Dont really care for the relic look, but do love a bit of patina. Haven't been playing bass long enough to age mine yet, and I'm not going out of my way to deliberately scratch or knock it but I completely disagree with taking off my belt before slinging over my shoulder. Its not like I'm going take a wet teabag to the maple neck wither.

The band suggested covering this. Its an awsome bassline IMO. Anyone have any decent tab or sheet for this? Most of the stuff on the internet misses all the non root notes through most sections.

I'm sure theres relevant threads here already, so feel free to redirect me. I was at rehearsal yesterday and was playing Use Somebody by KOL. Its not a difficult song but the 2nd verse has a tricky rhythm part which I find easier to play fingerstyle. At the start it was OK, but by then end of my right hand was practically hanging off. I think it was just the "chugginess" of the rest of the song. As a recovering 6 stringer I'm always more confoirtable witha pick for anything with straight rhythm or that chugs. I think I pluck quite hard. I think my fingers move a lot when I play - I checked it in the mirror and the right hand doesn't look very efficient. I seem to be much better playing "badly" with one finger rather than alternate forefinger/middle So my question is, is it just stamina that I need to build up, or is my technique wrong (I suspect the latter or a mixture) - any tips would be appreciated.