skankdelvar

[quote name='King Tut' post='397432' date='Feb 2 2009, 12:14 AM']But it's definately 'JV' 00001 so nothing to do with Gilmour. I mean it's obviously either the real deal or has a fake neck plate. Where are the JV experts? Wish I'd taken more pics, but I'd gone through about five bottles of dog by then![/quote] ...or you could just ask them - the band, I mean

[quote name='kdphysio' post='394982' date='Jan 29 2009, 09:46 PM']Ok, so you were playing jazz, BUT you were in a lapdancing club![/quote] Bilbo's secret dream.

...and nice to meet you too. Tasty, solid rig ya got there. Enjoy the forum!

Or could it possibly be an aftermarket part, engraved with 00001 as homage to the Gilmour #0001 ("Number One") Strat? [url="http://www.gilmourish.com/?page_id=259"]http://www.gilmourish.com/?page_id=259[/url] And, from what I can see, the player looks a bit of a corker :brow:

You could always keep it low but angle the neck more to the vertical. Or try the happy medium approach. Not too high, not too low. And throw some different shapes.

[quote name='mrcrow' post='397005' date='Feb 1 2009, 05:00 PM']scale study...timing...and thought processes built on listening recall of blues recordings the mood needs to be understood[/quote] That sounds worryingly like jazz. The "workingman's" alternative is: 5 notes, 4 keys, 3 positions, 2 speeds and 1 finger

[quote name='YouMa' post='396601' date='Feb 1 2009, 02:58 AM']Dont diss the style council. Do you have style? I think not![/quote] Correct, I am indeed, style free! Mr Style and I are not on speaking terms and I am not at home to him. I have charitably yet accurately been described as looking like "a sack of sh*t tied up in the middle." But I didn't split the best band of the 80's, wear shorty beige macs, work with the ugliest keyboard player in the world and call myself "The Cappucino Kid". (Spits again, this time in an agricultural sort of way).

[quote]I've got a suitable box but Sainsburys are out of possum - any ideas?[/quote] Adult badger - just the right size, weight. Available freshly gassed from your local DEFRA cull. [quote]I've heard all the red squirrels are either dead or dying at Formby Point[/quote] I blame that George Formby. B*st*rd.

...and then subtract £12,500 for the Style Council connection. (Spits with disgust). Mind you, some Weller-head will probably have it.

[quote name='gareth' post='394710' date='Jan 29 2009, 04:44 PM']very individual bass but defianetly not worth the money[/quote] At least it makes me feel better about those shelves I put up. It looks like someone drove over a leprechaun.

[quote name='Dr.Dave' post='395391' date='Jan 30 2009, 01:46 PM']Where is it written that a particular type of music has to have a particular type of bass sound requiring a particular instrument.[/quote] I reproduce the following from Barry Chinstroker's seminal publication "Guide to British Blues Bass Playing" (Hi! Tone Publishing, 1995): [i]"....New-boy bluesers soon discover that a 'bells and whistles' 5-string bass is a major solecism (or 'faux-pas' as our Jazzbo friends might say). In 1978, well-known Chicago bassist Eddie 'Po'Boy' Sandwich turned up for a gig toting one such instrument. Bandleader, Howling Lemon Balsam shot him dead on the spot and the audience ripped his bleeding corpse to shreds before dining on his vital organs. It should be noted that British 'blues buffs' show far less restraint. ....The ideal bass tone should resemble the sound of a large, empty wooden box being struck by a good-sized possum. "[/i]

While I wish you well in your endeavour, is it OK if I play Devil's Advocate? Here are some questions I might ask. * How much is it going to cost? * Will you sell it retail or mail order? Where could I audition it before I bought it? * What is your guarantee period and returns policy? * How is this different from a 450w combo with no tone controls? * What is the level of demand for 'amps' with no tone controls? * Why not have two inputs, with one padded for active basses? * Tone controls are not just there to colour the tone of a particular bass. Among other things, they enable you to compensate for room frequencies or shape tones for particular styles of music. How would this be catered for? External EQ pedal? * What type of joint do you propose for the construction? Finger, dovetail? * Some mfrs prefer MDF over ply for baffles. What's your view? * Have you tried waxing ply? Would this be sprayed on and buffed or hand applied? * What speakers are you going to put in it? Are they going to be neos? Will they be mounted from the front of the baffleboard? * Is the cab going to be ported? Have you run a Thiele Small assessment of the cab dimensions, porting etc vs intended output, speaker type etc? * Will the amplification section be physically separated from the interior of the cab? * Will the amp section be fan-cooled? Where will the cooling port be? * What kind of amplifier are you going to install? Will it be an original build or an existing model? * Will the amplifier be voiced just for bass or for general purpose amplification? * Will the amp section have an effects send / return with separate in / out gains? * Where will the amp power cord sit - will it be kettle-lead into the top of the amp control panel? If so, will that meet British Standard? And how can you stack anything on top - e.g rack? * What is the one USP that will make someone buy this over a combo from an existing, well known Mfr?

[quote name='niceguyhomer' post='394830' date='Jan 29 2009, 07:18 PM']Spectors no good then? [/quote] As long as you don't mind assisting the Blues Police with their enquiries.

Good luck and much fortune with your mighty tome Spoiler alert, guys: Don't look at the synopsis for chapter 10.

[quote name='bremen' post='394819' date='Jan 29 2009, 07:10 PM']Sure it's just a bit of fun, but can you imagine a 'Best black bass player' or 'Best gay bass player' thread?[/quote] Take your point, but (more in reply to Bilbo, really, but not picking on him per se) there's no question that large swathes of musical endeavour are notable for the statistical under-representation of women. [i]Even[/i] Jazz is a bit - er - male dominated And I'd love to know why. Given that they count for over 50% of the world's population, it would be a [i]Good Thing [/i] on so many levels if there were more women players. Because then there'd just be [i]more players[/i], irrespective of their gender or their genre. And then we wouldn't have to differentiate - there'd just be fiery threads about who's better - Tal Wilkenfeld, Victor Wooten or Charlie Mingus.

I deliberately haven't listened to it, but I still think it's the devil's work.

[quote name='OldGit' post='394475' date='Jan 29 2009, 12:35 PM']I guess too it will depend on the venue and audiences.[/quote] +1 - that's the key. It's down to the audience's familiarity with the material. No question that there are (different / better / whatever) artists than GM / SRV / EC - but it's down to what the paying punters want - and lots of 'em want to hear re-treads or covers of covers of covers of the aforementioned covering other artists. So, tough... Somewhere else, like a 'proper' blues club / venue, you'd maybe get canned off for playing that stuff because the punters are more ..er...scholarly? It's happened to me. OTOH, in pubs or general music venues, if you take it out of the mainstream many punters just glaze over. Walter Trout (has he been mentioned yet?) once said he was too 'rock' for the 'blues police' and too 'blues' for the rock audience, and there's definitely a fault line in this marketplace. Bonamassa and Sherman Robertson have expressed similar views. Clearly, to appeal to a crossover audience, you have to walk a fine line. As regards "having the blues", IMO that's synonomous with the idea of playing with passion and commitment. If it's about more esoteric issues of background, ethnicity and authenticity, then we're in danger of getting into a sort of "Can Blue Men Play The Whites?" debate; at which point I'm running a hot bath and cutting my wrists... Or we could start a whole new thread - maybe take it over to the 'technique' section - pretty quiet down there, I hear But back to the OP - good point about the soul background. Definitely helps to start from there rather than, say, odd-tempo'd Swedish Metal. Frankly, for a man of your calibre, it'll be a piece of p*ss and you'll love it.

[quote name='timloudon' post='393348' date='Jan 28 2009, 01:40 AM']Where could I get hold of one?[/quote] They crop up on the bay quite often and not that expensive unless you get in a bidding war with a guitard who (erroneously) thinks it can be "blackfaced" into a gtr amp. Make sure it's a 135 though, the earlier silverface bassmen are 50-100w depending on age, and have a bit less clean headroom.

Y'know, I reckon this is the exact same conversation people must have been having 35 years ago. Not that it's uninteresting - far from it. But this thread def has vintage mojo, peoples.

One approach is stick to simple repetitive, even hypnotic patterns, with more interesting supporting passes when shifting between chords and on turnarounds. That's the thing about blues - unless the band's billing itself as being [i]different[/i], there'll probably be an expectation that 'stock phrases' will form part of your repertoire. Also, keep it low down. For a lot of songs, I don't go past the 5th fret. If the key forces it (say, D), I might start the root high then run the pattern back up to it from underneath, rather than the classic root [i]up[/i] to root octave. Def worth checking out SRV's bass player, Tommy Shannon. Some nice loping grooves, partic Pride and Joy. Good point from EBS-freak about non-trad-stuff. Def worth checking out structure variations such as the 8 bar (keys to the highway) also alternative beats e.g yer 2 basic Bo Diddleys, Two-steps etc. The other key thing is "helping" the drummer to (1) swing it a bit and (2) lay back off the beat in the classic slow trip shuffle. Lots of Brit drummers hit everything spang on, which makes things a bit metronomic and also have a tendency to overplay e.g over-complicated fills through turnarounds. Although it's a bit of a generalisation, Brit Blues Bands (even the best) can be a bit stiff at times...check out the Fab T-Birds, Jimmie Vaughan solo stuff, even Johnny Winter, for a more "rubbery" approach. IMHO, the best blues rtm sections are the ones where you don't even notice they're there, but the song would die without them.

[quote name='SS73' post='392877' date='Jan 27 2009, 04:29 PM']Just thinking may be the guy just had real bad luck with his winning buyers?, does that sound like I'm backing down [/quote] Don't sweat it, I reckon you've good reason to harbour suspicions...

[quote name='Linus27' post='392893' date='Jan 27 2009, 04:39 PM']They had a statue of Arthur English who I think was a soldier based in Aldershot or something like that.[/quote] He was a 40's comedian usually portraying a 'spiv'-type character. Very like Pte Walker in Dad's Army. ...and also appeared in Magnum PI The world just keeps getting stranger.

[quote name='Cantdosleepy' post='392446' date='Jan 27 2009, 09:45 AM']A good super-intro book is Gary Willis' Ear Training for Guitar and Bass. It's very much the thin end of the wedge, theory-wise, but ... you'll know in your head the relationship between the notes and can getit right the first time.[/quote] That sounds like the b*ll*cks. I'm having some of that.

Hi Huw, welcome to the forum. Lapdancing club with it's own band, eh? H'mmm, there's a thought ... there's a couple of 'saunas' round here...