TrevorR

But it has a lovely personality, I hear.



No worse than those Zon Hyperbasses (which I've always suspected is what gave Steve the idea...



But certainly not my personal cuppa char.

https://reverb.com/item/2807408-wal-3-octave-fretless-custom-2005-quilted-maple-facings

All, looks like Steve Chesney is selling one of his two 36 fret Wals.. The fretless of the pair. He just posted a link at the FB Wal group. Pete at Wal only ever made two of these, both for Steve. Looks like a southpaw might be in with the chance of a truly unique bass!

No affiliations other than being a huge Wal geek.

You say you want to get into the world of weddings/functions... Welcome the the world of wedding and function gigs.

Having played loads of weddings these were the comments that really chimed for me.

[quote name='scalpy' timestamp='1472460253' post='3121176']
If you want to get into functions, like many have said above, this stuff happens, but you're there to be a problem solver for the clients not a problem. The less hassle you can give them and the venue the better your reputation will be. We got asked to take off our shoes loading into a venue the other day, (the venue is part of a working arable farm and a bit dusty) the owner was delighted she didn't have to mop the floor after our sound check.

More specifically to your circumstances, make sure someone babysits the mix and make sure you agree exactly how long she'll sing for. We had a venue ask us exactly the same thing, and the girl sang turgid teenage misery ballads for over the allotted time with absolutely no stagecraft/ audience whatsoever. It almost killed the entire gig!
[/quote]
[quote name='Phil Starr' timestamp='1472397961' post='3120805']
Functions are like this, they usually pay better but they are more hassle. You usually end up offering mics for speeches for Uncle Albert to do a 'turn' or you may be asked to provide a background playlist for the break. the people booking you are usually good people but have no experience of working with bands. Yes they should have asked but if they have transgressed then it's probably just because they don't know the system or as suggested that a polite request got lost in the Chinese whispers of it getting to you. It's no real biggy to provide one mic and tweak a knob or two as you have the PA there anyway. It'd be more hassle if she brought her own PA. £350 sounds like a good sum for a first gig. Relax
[/quote]
[quote name='kusee pee' timestamp='1472400374' post='3120831']
In my experience, it's worth being as accommodating as possible unless there's a real cost to you or a risk to your equipment. It's a shame you weren't asked before but if you show willing to do everything to make the event special then the chances are that the reputational benefits will come back to you. Particularly if you are trying to get a foot in the functions door. There have been many times where we've got bookings from guests, friends, relatives of the original client and it's as often from how we are to deal with as how we perform. Of course you don't want to be taken for a ride but you should be able to get a win from this I would think.
[/quote]
[quote name='ambient' timestamp='1472408338' post='3120922']
Lots of flexibility and patience is needed for wedding and other function gigs.

You'll arrange everything down to the minutest detail weeks in advance, then on the day the bride will change her mind about something. You'll need to be able to just accept that, and to be able to be flexible.

Playing times, set lengths, where you set up, the times you set up, they can and invariably will change, often on the day.

Just grit your teeth sometimes, smile and enjoy the occasion.
[/quote]

You'll run into this sort of situation all the time. The question you need to ask yourself is how do you want the clients to feel about you. "Well, we paid them all this money to play and then they started to get really arsey about all sorts of stuff. I really really wouldn't recommend them for your 40th party..." And believe me, they just have no clue about band etiquette, they will think they've paid top dollar however much discount they've been given, they have no idea they've taken a bit of a liberty etc etc etc. Had all sorts of stuff from the happy couple.

So long as real liberties aren't being taken Its better to be "Oh they were so lovely and helpful, even when we ended up messing them about about (whatever)... I'd recommend them to anyone. Definitely book them." Certainly establish limits (which may or may not be flexible) but remember that you aren't there as a band. You're certainly not there as "an artiste". You're there as a service provider in the service industry. Weddings never run as planned or to time. We've been in the position of dropping entire sets because the photos and meal and speeches etc ran on so long.

As to the X-Factor wannabe definitely remain in control of the PA. You could say to the bride, "Well, we're just thinking about the flow of the evening, and singing with backing tracks can flag after a bit compared to a full live band so I'd really recomnend keeping her set to 30 mins, 40 at most. It will just make the whole thing flow so much better for all your guests." That may convince her. Anything perceived a band whinging won't achieve anything other than scenario 1 above. But if she insists you may just have to grin and bear it.

You should also ask to deal direct with the other singer, so ask for contact details. And then agree logistics direct with her. Including transition logistics... I'd suggest something like. After the allotted time the band will quietly take up positions behind her on stage and at the end of the song will make a Thank You announcement to the audience... E.g. "Thank you to Wannabe Starlet for an amazing set. Amazing! Let's have a huge round of applause for Wannabe Starlet (cue polite smattering of claps). No let's have everyone up onto the dance floor for [Mustsng Sally/Brown Eyed Girl]..." To maintain the flow of the music, of course. The fact it makes you look professional and keeps you in control is merely a bonus!

[quote name='Mark Dixon' timestamp='1472228630' post='3119682']
One more Wal, Mk I cherry burst flame maple.. yum yum
[/quote]

Droooool!

This thread got me thinking about changing musical tastes... When I was 16 my absolute fave bands would have included: Electric Light Orchestra, Thin Lizzy, Gordon Giltrap, Doobie Brothers, Yes and Horslips. All still high up on my listening list today.

Others would have been right up there too. Pre-hair metal Whitesnake is now on the "Meh!" pile (though I still love Neil Murray's playing on those tunes). However, Led Zeppelin, Emerson Lake and Palmer, Gillan (silly metal phase) and a good chunk of 70s Deep Purple, although top spins then, I now find pretty much unlistenable! How times change.

Or even more specifically...



Good reason why she was "Rear of the Year" a few years running!

And Genesis could sound pretty immense with Bill/Chester in the instrumental bits where Phil wasn't singing...

Or you can get "Medi Swabs" or "Sterets" pre injection swabs - soaked in isopropyl alcohol. As a diabetic I always used to have them kicking around. 1000 uses... cassette head cleaning, getting sticky labels off CD cases, de-gunking strings...

Careful with the liquid. Not great for rosewood fingerboards.

[color="#000000"][/color]

Yeah, I'm not aware of them ever doing a formal Signature model. Looks like a pretty bog standard early SB1000... but with this...



[size=3][font="Calibri"][color="#000000"][/color][/font][/size]

Looks like The Gallery are just parroting the Sotheby's auction literature which is also pictured... Heck of a celebrity mark up. File under memorabilia not under musical instrument!

As others have said, it's not about size of kit, it's about control and the ability to play with dynamics as required for both the song and the room. I've been very lucky always to have played with drummers who have been able to do this. I recall seeing a seminar with Mark Richardson from Skunk Anansie once where he demonstrated the keys of dynamic control. He played a series of snare hits from only just audibly quiet to excruciatingly loud from a relaxed sitting position with almost no visually noticable difference in his physical movements. All just from minimal elbow and wrist movements... That's control!

[quote name='Cosmo Valdemar' timestamp='1472056371' post='3118091']


Hmm... Still a bit cheeky of the Gallery to suggest it's a signature model.
[/quote]

Well, Aria did emboss his name on the truss rod cover before they gave it to him! At that price you're spending about £500 a letter...

6 grand for a second hand SB1000! That's some celebrity mark up!

Cosmo, sort of. Bruce loosely endorsed Aria in the early 80s. He was pictured in their literature playing an SB1000.

Yes, a Steinberger is cool as hell but not necessarily comfy to play. A Precision or Jazz type copy plus a small bass practice amp combo should be sufficient to get you started.

On, and a good tuner like a "Snark" (yes, really Google it) or Polytune clip on tuner.

Some systemic beginner lesson in whatever form would be good to help you get the basics under your fingers would be god too.

I came across this online a while back. Probably a bit old fashioned in the YouTube age but it covers many basics...

[url="http://www.wheatsbassbook.com"]http://www.wheatsbassbook.com[/url]

Another JG bass based blog up on the site today... Enjoy...

http://walbasshistory.blogspot.co.uk/2016/08/jg-bass-special-pt-3-gallery-mk-1-jg.html

Well, there's the "clickbait" title out of the way...

It's funny. This post has been bubbling up in me over the last few weeks, months even. And I guess that the email which popped into my inbox today announcing that VW was the latest featured bassist in the SBL Podcast kinda acted as the impetus.

No, let's get one thing straight. Mr Wooten is clearly anything BUT rubbish, his mastery of the bass is undeniable. He has taken his bass playing technique into areas which I can barely imagine and could never ever aspire to. However, however much I try (and believe me over the years I actually have tried repeatedly) I've never failed to find his playing a passion-killing combination if "incredibly impressive" and "very very dull". In particular his solo playing. Very impressive. Very, very impressive but, for me immensely boring and quite often rather un-musical to my ears.

Can't argue with the impressiveness. Thing is, I rarely ever sit down to listen to music with the intention of being impressed. I'll listen to it for pretty much any other reason. And it's not that I'm anti technique - some of my favourite players have immense technical expertise and ability - off the top of my head Michael Manring, Abe Laboriel and Steve Lawson spring to mind but I love the music that they make and it seems to me watching or listening to them that the technique, expertise and ability serve as a vehicle for the music they make. And the emotional content they infuse their music with. Watching and listening to Wooten it always feels the other way around, musical notes in service of a display of technique. To me anyway.

Then there's his Flecktones playing which again feels to me like perfectly efficient and effective professional standard bass playing interspersed with short "stunt bass" interludes.

How else can I describe how I feel about VW's playing in another form? Well, watching the world "Keepie-Uppie" champion breaking another world record is very impressive... I'd much rather watch a classic 1970s Brazil vs Holland match with Pele and Cruyff squaring up against each other.

What do you guys think?

A wee bit of Tir Na Nog for you too...
http://youtu.be/3qp_VR67WSQ

Ever since I've had more than one bass I've taken two to a gig - meaning I have a backup just in case. However simple or complicated a mechanical (or electronic) system is it can suffer failure - as a (rather over-egging the pudding) example, the two space shuttle disasters were caused by failures in pretty much the two most low-tech elements in the entire space craft - an O-ring seal failing and a chunk of insulating foam falling off the fuel tank.

OK, fair enough, I've been playing since 1982 and I've only had 3 serious in-gig failures - a capacitor on a bass dying mid gig due to playing in misty/drizzly weather the day before, one broken string and one amp failure after it was dropped off a trolley while being transported up to the room with the stage. Still, on the first two I was able to swap immediately to an alternative bass with minimum fuss and on the second the gig it was close enough to nip home and I could fetch a practice amp and feed the DI out through the PA for reinforcement (otherwise I would have just DI'd and made do). I don't see the point of bringing a spare bass and leaving it in the car - my view is you want to be able to sort it out by the end of the next verse, not by the start of the next set. Not taken a spare amp or cab but DI into the PA is the backup for that. And for me it's the same approach whether playing at the Bath Assembly Rooms, a big festival, a wedding venue, Jagz in Ascot, in a marquee in someone's back garden or at the local Dog and Partridge. I approach all those gigs with the same level of priority and commitment, irrespective of venue.

However, as the owner now of some lovely basses each with their own character it's also given me some nice in-gig tonal options to play with and I tend to swap between the two basses across each set. I've played some really cramped stages and dives in my time too but never not been able to find room to safely position two basses on their stands. Win-Win... insurance policy and bass geek indulgence. They just both got put in the back of the car so no biggie.

Of course, I could have quite happily played any gig exclusively on any of my basses. However, having two there did give fun options. For example, although my Custom Series Wal is my "lead" bass there are just some tracks which really work well on my Pro Series Wal. Stuff with a more 70s rock or old school vibe for instance - Town Called Malice, Hangbags and Gladrags, Maggie May, Brown Eyed Girl (yes!), Get It On all spring to mind. They sound and feel just fine on the Custom but for me they sound and feel just great on the Pro.

Similarly, the Custom is really versatile and can produce a huge range of sounds but there are some where it just sings. Some examples are Mustang Sally (yes!), Lady Marmalade, Babylon, It Must Be Love, Roxanne, Walking on the Mood, Dreadlock Holiday, What's Going On, Long Train Running...

So for me it's a case of taking an insurance policy and making something enjoyable for myself out of it too. Indulgence? Yes. Not [i]strictly[/i] necessary? Probably. Will the punters be able to tell the difference... blah blah blah...? That debate will run and run in here long beyond any of our lifetimes but [i][b]I[/b][/i] can tell the difference and [i][b]I[/b][/i] enjoy it so that's more than enough justification for me. And if that makes me happy playing I'm convinced that will help me play better which means the band will sound better and [i][b]THAT[/b][/i] the punters will pick up on.

[quote name='Funky Dunky' timestamp='1471794047' post='3115914']
Eric Johnson and his bizarre claim that duracell batteries sound better in his pedals. Nah man, you need to see a doctor!

[/quote]

And Eric is a rank amateur in terms of golden eardness when it comes to the serious hi fi brigade!

[quote name='discreet' timestamp='1471802885' post='3116013']


There's the rub. Regardless of the FOH sound, I suspect that if you're enjoying your 'tone,' you're more likely to play well, and vice-versa.
[/quote]

Precisely!

Notwithstanding that the main character in your playing comes from how and where you strike the string I do like the tone shaping possibilities that my Custom Series Wal's tone circuit gives me. I can garnet at quite different tones to suit different songs (or parts of songs through how I modulate that tone by where I pick the string). My Pro Series bass does sound quite different to my ears and the different tone circuits provide noticibly different tones.

Now, I'm willing to accept that the two basses might (consciously) sound no different to anyone standing more than 6 feet away from my amp, especially when in a band mix and subject to the vagaries of a FOH engineer. However, I'm standing 5 feet from my amp or a couple of mm from my in ears and I do hear an appreciable difference... And that's what matters to me!

Some great Irish bands mentioned here but what about Lizzy?

Waiting for an Alibi
http://youtu.be/C8tu8pN8p50

Still a huge fan of Horslips so any excuse to post this gem.

Dearg Doom on the Whistle a Test
http://youtu.be/y5G8AJf4Xzw

And how come no one has mentioned this fella yet?

Rory Gallagher
http://youtu.be/oKhPCjQZONk
http://youtu.be/go9J9REtfdA
http://youtu.be/0iF13OT5xv8

And to bring the mood down a bit, I love Mary Black's voice...
http://youtu.be/XvABIMOkaGQ
http://youtu.be/-3nLjGQpUOU
(and Eleanor McEvoy's not too shabby in the vocal dept either!)

[quote name='chris_b' timestamp='1471561747' post='3114100']
A Hofner sounding better than a Wal? Now that is rare.
[/quote]

I think there may be significant levels of "IMHO" operating there (on all sides)... Not that I'm biased or anything, ;-)

Some JG (and Pro, Mk 1 and MK 2) porn here... New JG based blog today (and it's a goodie even if I do say so myself). Featuring some very special basses owned by John Gustafson and some Colin Edwin and Martin Elliott thrown in for free. With HUGE thanks to Martin for his help and inspiration!

http://walbasshistory.blogspot.co.uk/2016/08/jg-bass-special-pt-2-tale-of-two-basses.html

Taxman/Start springs to mind but my "trying out a bass in a shop" tune is The Theme to Star Trek Deep Space Nine which always just falls nicely under my fingers. Only ever had someone recognise it the once. About a month ago the two guys serving in Wunjos while I was trying out a rather nice Sandberg stopped, stared at me and said, "Hey, is that Deep Space Nine? Used to love watching that..."