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MrDaveTheBass

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Everything posted by MrDaveTheBass

  1. I've always had good experiences with Laney gear. I used to have a DP150, which I upgraded to a RB9. It's got all of the features that you'd ever need - 300W, high and low pass filters, graphic EQ, DI out, FX loop, and a usable on-board compressor and limiter. It's rugged, built like a tank, and has never let me down. For pub-rock, it's got a great crunchy, slightly overdriven 'British' tone. It's was only after coming on here and being infected by GAS that I 'upgraded' to a more 'boutique' rig. I've since realised that with my covers band I'm replicating my old Laney sound using a rig that cost over 3-times the price!
  2. Can't beat a good bit of dub! King Tubby is a firm favourite of mine. I recently got hold of a copy of this: [url="https://www.amazon.co.uk/Island-Presents-Dub-Various-Artists/dp/B00ISGOKDQ"]https://www.amazon.co.uk/Island-Presents-Dub-Various-Artists/dp/B00ISGOKDQ[/url] A lot of dub compilations can be a bit patchy, but there's not a duff one on there. Irie riddims!
  3. [quote name='ribbetingfrog' timestamp='1478465607' post='3169256'] Finding good people to spend time with is a lot more important than finding someone who can play. It's definitely easier to get decent folk to learn to play better than it is to get talented idiots to become better people. [/quote] This x10 ^
  4. It sounds very much like it was their loss, not yours. Enjoy your gig tonight!
  5. [quote name='seashell' timestamp='1476822011' post='3157632'] Andy Fraser, 'Mr Big'. [/quote] You beat me to it! I'm not normally a fan of flash bass solos, but Mr Fraser's playing on this is just sublime. I've been unable to play it for the last couple of decades - perhaps it's time to have anotehr crack at it!
  6. My guitarist's function band urgently need a new bass player. If I had more time, I would jump at this, but I fear that joining a third band would antagonize MrsDaveTheBass past the point where I could still consider myself happily married ;-) The guitarist is very good, great to play with, and a nice bloke as well. I haven't met the others, but it sounds like a nice outfit. The band's called 'Midnight Groove'. Currently they're playing functions and parties, but are aimimg for the corporate circuit. Their website is: [url="http://www.midnightgroove.co.uk"]www.midnightgroove.co.uk[/url] Feel free to contact them directly, or if you'd rather, drop me a PM and I'll pass your details on.
  7. [quote name='paul h' timestamp='1475170015' post='3143752'] Playing a dodgy rock pub a lifetime ago I politely asked 3 young men to step aside so I could park in the nearest, empty parking space. I didn't know they had slashed one of my tires until I was driving home. [/quote] That certainly puts my weird tale into perspective - at least though it was only your tires that they slashed.
  8. [quote name='tonyquipment' timestamp='1475171444' post='3143765'] grab his feet and remove his shoes. If he kicks u it won't hurt. Throw the shoes across the street. Mate. Fetch. Lol [/quote] Hehe, I'll remember that one the next time I'm trying to get a crazy stoner out of my car!
  9. I had a very strange load-out after my gig last night in the centre of Leicester. We were first on, so we were all done and dusted by 9:15pm. As it was a Wednesday, I was keen to get home and take advantage of the early finish, so soon after we'd come off stage, I was wheeling my 4x10 on its trolley down the road to my car which was parked just a little way down from the venue. The street was surprisingly busy for a Wednesday night, and I had to weave my way through a crowd of students, slightly merry but not pissed enough to be beligerent. When I got to the car, I opened the boot and turned around to lift my 4x10 into it. As I did so, someone ran past me on the pavement shouting, "I'm 'avin that!", opened the door and plonked themselves down in the front passenger seat! I put down my 4x10, walked round to the front of the car and pulled the passenger door open. Sitting in the front of my car was the exact stereotypical Daily Mail personification of a ne'er do well: Baggy grey tracksuit, hoodie, baseball cap, the lot. He was also clearly and obviously completely off his tits. I cleared my throat and politely explained that I wasn't a taxi, and would he please exit my vehicle. He replied with what I can only describe as a stream of authentic urban gibberish, and tried to pull the door closed again. I stood next to the door to stop him from closing it, completely at a loss at what to do next. I grabbed his arm and tried to drag him out, but he managed to wedge himself in under the dashboard. I let go and took my phone out of my pocket. Despite my new friend's protestations of "Don't do it bruv, I'm warnin' ya, don't do it!", I called our singer, who fortunately looks a whole lot meaner and more intimidating than I do. Thankfully, he answered straight away, and after what seemed like a rather a long and awkward couple of minutes, was standing next to me by the car. He took a very friendly approach, introduced himself and shook the guy's hand. Strangely, my gangsta chum suddenly professed a hankering for a chicken burger from the fine establishment we were parked in front of, and staggered uncertainly out of the car. Muttering something about what a huge gangsta he was, and how lucky we both were that he hadn't "put a cap in yo ass", he wobbled away into the burger shop. We threw the 4x10 into the boot, and decided that it would be a good idea to move the car around the corner before I loaded the rest of my gear. It still seems rather unreal, but I've learn't the following things:[list] [*]It pays to keep your wits about you on load-in and load-out. [*]If the guy had been a proper 'gangsta' and had wanted to hijack my car, I would have been competely stuffed. [*]A calm, friendly approach was able to diffuse the situation more effectively than threats or violence. (But it helps to have at least one scary looking member of the band!) [*]I now know when to use the third button on my car key-fob, the one that opens the boot but leaves the side doors locked! [/list]
  10. [quote name='spectoremg' timestamp='1472190287' post='3119203'] Edit: describing sound is like trying to describe an orgasm. [/quote] MrsDaveTheBass would like to know what EQ settings you're using!
  11. If you're after proper notation - i.e. 'dots', not tab, this place is worth a look: [url="http://www.sykestranscription.com/transcription-archive/"]http://www.sykestranscription.com/transcription-archive/[/url]
  12. [b]Practice[/b] A point to remember is that four months is almost no time at all. Try and be patient with yourself. Try and practise every day. Little and often is best - ten-minutes practice every night is better than an hour once-a-week. [b]Posture[/b] Try and adopt a good straight, yet relaxed posture to avoid back/neck/shoulder problems. When your hands hurt - stop and rest for a bit and shake them out. [b]Fretting Hand[/b] At first, your fretting hand will appear to be the 'difficult' one - it's usually the one that hurts most when you're starting out, and there's a natural emphasis to worry about which note you're fretting. Try and use the least amout of pressure that you can to hold down a note. If your bass is set up ok, you probably only need to apply half as much as pressure as you think you do. Hold the string down just behind the fret to avoid string buzz. You're trying to make your fretting hand do weird and unnatural movements, and it's going to take a while to build up strength, flexibility and dexterity. Be patient and relax. It will come. [b]Picking Hand[/b] After a while, you should realise that your picking hand is the 'important' one - it doesn't matter so much what note you play, as when you play it. If you're starting off with a pick, practise using even up and down strokes. Set up a drum machine with a standard 'rock' pattern and play a regular 8-note groove on an open string. Try and lock in with the hi-hat. Concentrate on keeping each note even and the same volume. Start slow and only build up the tempo when you've nailed it at a slower speed. Try picking at different places along the string. Notice how the tone changes as you pick closer to the neck or closer to the bridge. [b]Scales[/b] Always use a drum machine when learning/practising scales. Start slow, even really slow if you have to, and gradually increase the tempo as you improve. [b]Listen![/b] This sounds obvious, but listen to yourself as you play. If you're feeling brave, record yourself and listen back. I find that this is a great way of identifying what areas you need to concentrate on. [b]Styles[/b] Obviously, you'll want to play the kind of music that floats your boat, but don't be afraid to try lots of different styles. One of the best things about bass is that it's everywhere - rock, blues, jazz, latin, funk, disco, reggae, metal - you name it. Even if you don't listen to a particular genre of music very much, it can really help if you can try and work out what the bass is doing and apply it to your own playing. At the end of the day, it's all bass! [b]People[/b] Most importantly, as a lot of other posts have said, at four-months in, the best thing you could possibly do is play with other people. It doesn't have to be a band - just jamming with someone else will help you loads. Ideally make friends with a drummer, if you can find a tame one ;-) If not a guitard will do (there's lots of them about) or anyone playing anything else for that matter - one of the joys of bass is that it sounds good with pretty much anything.
  13. Glad it's not just me who struggles. I also find playing with a pick helps - somehow the extra brain power required to operate two right-hand fingers pushes me over the edge and I just stop singing. When I do manage bass and vocals to at the same time, I find myself in a sort of 'Zen' space - not thinking about either the bassline or the vocals, but kind of existing somewhere between the two and just letting them both happen. If I think too much about one - or really think too much at all - it always turns into a bit of a car crash.
  14. All you ever wanted to know about compression: [url="http://www.ovnilab.com/"]http://www.ovnilab.com/[/url]
  15. I agree - Dave Anderson was amazing (as were the rest of the Collective) - I'm envious - he looks like a joy to play with. I did catch some of your set - very nice! It was well timed - a perfect mellow vibe for a lazy and slightly hungover Sunday morning.
  16. I was at the excellent Leicester 'Simon Says' festival at the weekend. There were loads of great bands, but my personal highlight has to be Mr Panter's Uptown Ska Collective. They were just superb - it was impossible to resist their easy skanking grooves, and they had me (a confirmed hard-line non-dancer) jumping around and smiling like an idiot along with the rest of the entire audience. If you get the chance, go and see them - not just for a masterclass in ska, but for a rollicking good time.
  17. Stingrays (though lovely) aren't exactly the lightest of basses either. You might like to look at the MM Sterling, as it sounds and looks like a traditional 'Ray, but they're a bit lighter. (Personally I love the skinnier Sterling neck, but you might find it a bit of a toothpick after your Precision).
  18. Me too! After 20+ years of dad-rock purgatory playing in covers bands, I've finally found a decent originals outfit. I was given vocal/acoustic guitar demos and had completely free reign to write whatever I liked. - I'd completely forgotton how much fun it was to write my own lines! Like the OP, I've found myself writing quite sparse lines to support and blend with the songs, so it's good to hear that I'm not the only one to take this approach. I'm also enjoying playing the sort of support slots that seem like they're only available to original bands. We turn up, plug in, have a quick line-check and go straight into our half-hour set, and so far have avoided all of the interminable hanging around that seems to go with covers bands. I was once given some advice, which was, "Play covers like they're originals, and play originals like they're covers." I take it to mean that you should make covers sound like you wrote them - don't slavishly copy the original song, and that you should work on the structure, arrangement and performance of your own songs, until they sound as good as something you'd hear on the radio.
  19. [quote name='KiOgon' timestamp='1464087283' post='3056396'] it's going to have as much power available as a doormouses fart, probably less! [/quote] Mouse-fart powered pedal boards - I'd definitely invest in a Kickstarter campaign for one of those! (Might have to iron-out a few animal welfare issues first though)
  20. [quote name='crez5150' timestamp='1463147068' post='3049042'] Michael Jackson? He's dead too unfortunately [/quote] I think I see what you did there!
  21. I'm a bit disappointed that the casting director has decided to play it safe and go for the obvious choice of Ms Gaga. She is so blatantly influenced by our Cilla, and is such a similar artist, that surely it would have been better to choose a more 'off-the-wall' candidate?
  22. [quote name='DiMarco' timestamp='1463123836' post='3048734'] Always remember:[list=1] [*]Music is not a contest. [*]You don't play bass to win jamsessions or youtube. [*]Never stop learning. [/list] Keep enjoying what you do. [/quote] +100
  23. [quote name='matski' timestamp='1463045007' post='3047996'] Do these cobalts 'go off' over time? [/quote] They do lose their 'zing' after a while, but I'm not sure that they go off any quicker than another type of string. Straight out of the packet they sound like played in rounds, and my first set continued to sound like that for a good couple of months. Sorry to be a bit vague, but I joined a second band just after I put the Cobalts on and was playing a lot more than usual, and so can't really tell how long they lasted compared to a regular set of Ernie Ball Slinky Rounds. String-life unfortunately, is really one of those YMMV things - or 'how bright is a piece of string' ;-)
  24. They're definitely worth a try. After 27 years of using rounds, I'm now on my second set of Cobalt Flats, and I think that I'll be using them for the foreseeable future. They do sound different from rounds, but the tone is very useable and can be shaped easily with a bit of EQ. With the EQ flat, I've lost a little bit of the roundwound growl from my MM Sterling, but it can be dialed back in by boosting the treble a little. The best thing about them is their feel - they're an absolute joy to play, and my right-hand picking fingers are no longer shredded after over-enthusiastic gigs. Do pay attention to the instructions that come in the packet - you need a couple of extra turns around your tuning posts compared to ordinary rounds, and I almost cut my first set too short, and only just managed to hang them onto the tuners.
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