TrevorR

[quote name='colgraff' timestamp='1449784883' post='2926908']
What about this bassist? A 90s icon!

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Rubbish bassist, but if you want that piano shifting upstairs then he's yer man!

[quote name='Lozz196' timestamp='1449785310' post='2926918']
Roqsolid - awesome covers.
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+1 from me. That's what my cabs wear

[quote name='yorks5stringer' timestamp='1449746506' post='2926408']
Notice you have them on the long 'side', I used a hairdryer to gently remove the badge, spin it 90 degrees so the cab sits on its narrow side with the badge now horizontal
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Actually, I'm more likely to use it solo on the short edge as a kind of nano-stack but still angled back. The photo was of two church services where we wanted a low visual profile. When I use it on end I just live with the fact that the logo is at 90 degrees. With the 1x15 it always sits on top as a mini stack as in the photo.

[quote name='Mcgiver69' timestamp='1449767165' post='2926689']
Jon Gomm's - "Live in the acoustic asylum" and "Secrets nobody keeps"

Truly beautiful and inspiring.
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That live album is a properly good one!

Ive also really enjoyed Red and Gold by Hattie Briggs and Tiny Spark by Stephanie Kirkham this year too...

I couldn't possibly suggest that you'd made a great choice there. But only coz I'd be accused of gross bias!



You'll get a great sound and plenty of volume form the 2x10. I've used it on its own in several situations with/against drummers. Mind you, I did plump for the 8 ohm, two cab option! ;-)

[quote name='Qlank' timestamp='1449643257' post='2925416']
+1 for Miles Davis:
http://www.youtube.com/watch?v=zqNTltOGh5c
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Yup. Top tune!

If you want to explore "proper" jazz then you could do worse than downloading this album from iTunes... #1 Jazz Album Ever! by Various Artists https://itun.es/gb/XR-sA

At £5.99 for 150 tracks, many of them absolute classics/standards by the pivotal artists in all forms of jazz across the last 80 years, it would be an easy way to dip into different jazz styles to see what you liked. And frankly, if you only liked one in ten tracks you could still hardly say fairer in terms of vfm! Herbie Hancock, Ella Fitzgerald, thelonius Monk, Wes Montgomery, Miles Davis, Charlie Parker, Stan Getz... They are all there... Plus many more. The perfect dip in dip out sampler.

[quote name='fleabag' timestamp='1449613779' post='2925300']
Thanks blue - sometimes publications come out the following month .... eg December issue comes out in January. Or vice versa
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That's very rare. As Bluejay says almost all commercial mags will never date a magazine so that it looks out of date while on the shelves. The casual purchaser is likely to be put off buying because they will subconsciously presume that the content of the magazine is now old/out of date/defunct... Even despite that fact that most content isn't anywhere near that time critical.

If a magazines shelf life is 15 November to 14 December it'll almost always be called a December issue. Or even in some cases January - I recall a period where Guitarist was about two months ahead in their cover date. I think that they threw in a "Winter" issue to get them back on track a month ahead or something. There was a debate on this very same topic on the late lamented Word magazine forum. Dave Hepworth gave some really interesting insights on the psychology that publishing houses take into account on little things like magazine cover dates.

I had one of the original Series 6 1215 200W combos when they first came out. I loved that amp and it was my workhorse for nigh on 20 years until it semi-died one night at a wedding gig after I toppled it off the trolley I was lugging it on...

Thoroughly recommend Abraham Laboriel's solo album Dear Friends (although that's probably as much funky as jazzy). Also, his band Koinonia's albums Frontline, Celebration and More Than A Feelin are worth hunting out. Also any of Mo Foster's solo albums are worth a listen but his first, Bel Assis is still my favourite of his.

http://youtu.be/9TaovXWImAA

http://youtu.be/rFAg_Oi_X_A

http://youtu.be/GUuH0zkyVtM

http://youtu.be/xGKilB2xalE

http://youtu.be/pZpx-rswKiA

[quote name='2elliot' timestamp='1449410888' post='2923255']
TE... left to rot by Peavey.

Some really needs to get hold of this brand and bring it back to it's former glory.
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Yeah, agree 100%. They've not been served will by their various purchasers...

79 - making PA gear and move towards bass gear
80s - the glory years
92 - bought by Kaman and start to decline
97 - management buy out
98 - sold to Gibson but most of their best lines scrapped
02 - canned by Gibson
05 - bought by Peavey

[quote name='Lozz196' timestamp='1449372264' post='2923020']


I do love that one.
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Funny. I was just about to suggest it to you... Love it!

http://youtu.be/ZN2bcS9shuY

[quote name='paul_5' timestamp='1449351354' post='2922901']
I'm really into the fretless playing on the Lion King soundtrack. Great stuff!
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According to Allmusic.com it was Phil Spalding. Good player. Saw him playing live decades ago with both Toyah and the Hackett/Howe project GTR. Whatever happened to him? Not heard anything of him in yonks.

We've been a bit spoiled for rock docs the last few weeks. First Wilko's and then there was a rather good documentary on 10cc on BBC4 on Friday. I'd forgotten what great careers Gouldman and Stewart had even before forming 10cc, let alone with the band and afterwards.

Well worth a look on iPlayer.

I'm Not In Love: The Story of 10cc: www.bbc.co.uk/iplayer/episode/b06r14pr via @bbciplayer

My old Boss TU 2 saw me right for many years and I would have said it would be hard to better it. However, a few years back I needed a parallel set up in two places so thought I'd buy a second tuner. I was going to get a TU 3 but plumped for a TC Polytune instead. Haven't used the Boss pedal since. The TC is a cracking bit of kit. I never use the "all strings at once" gimmick but for normal mode it's spot on and really clear display. Either would more than see you right though.

[quote name='Graham' timestamp='1449308650' post='2922376']
I've two girls 7 and 4 so well acquainted with Frozen, Love Is An Open Door has a cracking bassline, I'd be interested in finding out who recorded it.

Hercules had a really good songs in it too.
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Electric bass on the whole soundtrack is the great Abraham Laboriel. Such a great player and now knowing its him I can really hear a lot of his style in it...

I love that the musical model for kids now isn't form a band, write some songs, do some gigs, get signed, get huge... Rather it's cover some Taylor Swift and Justin Bieber songs, stick them on YouTube...

Summer Of 69, Livin On A Prayer, Rock n Roll Band, So You Wanna Be A Rock Star, Into The Great Wide Open would be such different songs if someone had written them today!

PS I couldn't resist checking. She now has a YouTube channel. First Bieber song uploaded. Solo only, no band yet. Bless. Mind you, at least she's learning guitar and has taken some initiative.

[quote name='ezbass' timestamp='1447512039' post='2908205']
I sold my MXR M80 a while back and bought a VT Bass DI. Now that I've used it a few times, it's definitely a keeper and so a new pic of my rearranged board seems appropriate.

[URL=http://s308.photobucket.com/user/ezbass/media/03B31E78-4524-458D-A4AD-0EB58B7711C8_zpsgqwyh42e.jpg.html][IMG]http://i308.photobucket.com/albums/kk344/ezbass/03B31E78-4524-458D-A4AD-0EB58B7711C8_zpsgqwyh42e.jpg[/IMG][/URL]
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I love my VT Bass DI. Interested that you put it first in your signal chain. I'd never have considered that. Mine's being used as an amp sim and DI for an amp free set up so can only go last.

Also is your Pitchblack last, after the effects? How does that track? Again, I would never have thought of that order. Or am I following the inter connectors wrongly?

Have you tried reducing the output volume on the Empress to see it that tames it? Esp if you use it as an always on pedal.

[quote name='KevB' timestamp='1449242337' post='2921913']


And that's the point a lot of 2 guitar bands miss. The good 2 guitar bands build a sound where the 2 complement each other, harmonise etc. If you listen to classic Thin Lizzy, Wishbone Ash and even Quo the 2 guitars are often playing different things. As you say, 2 guys chugging away on the same thing in the same time quickly turns to mush.
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I know that BC doesn't have a "Like" button but I'm pressing my imaginary one right now!

I should preface this post by noting that I have a 5 year old little boy... That's my excuse.

I was sitting on the train this morning with my iPod on shuffle listening to some tunes when a tune came on that wouldn't have been a personal choice. It's one I'd heard dozens of times but never in ideal listening conditions - usually in the car or on the telly. However, as it started I thought, "Mmmm, that bass has a really nice tone to it. Never noticed that before." And then as I listened further I realised it had the most brilliant bass line. Sure I'd clocked the basic line but never heard the subtleties in ther playing. The funky little ghost notes that were thrown in here and there. The contrast between the bouncy, cheerful verse line and the driving straight eights chorus. I certainly hadn't clocked the really nice slap lines on the second prechorus section.

I ended up listening through to it three or four times the really get behind the bass line and verify that it really was as cool as it seemed to be. Frankly I was a bit shocked and stunned. So what was this tune?

"Love is an open door" from the soundtrack of Disney's Frozen! Yup, one of the last few year's top parent tormenting songs is actually a pretty cool bit of playing. See what you think...

http://youtu.be/j6nnoWgbdvg

In fact the playing felt strangely familiar. Some Googling provided the answer. Bassist on the Frozen soundtrack? The mighty Abe Laboriel. One of my all time fave bassists. No wonder the bassline sounded both familiar and cool. Now for a reappraisal of Let It Go? Don't know if I dare.

And for those who don't have preschool/primary aged kids and may not be aware of Frozen... Here's the song in context...

http://youtu.be/TtCXUFImZYE

[quote name='colgraff' timestamp='1449143731' post='2921020']

Very true, to my ears early Iron Maiden was one of the few band to get a true balance between two lead guitars and bass. Then they went and spoiled it with three guitars!
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Four words... Thin Ash Wishbone Lizzy. Not necessarily in that order. ;-)

Recently resurrected my quarter century old Boss CE2-B to add a wee bit of texture in here and there when playing bass in the band at church. Not using it a lot but loving it when I do.

[quote name='colgraff' timestamp='1449078390' post='2920629']
I'd have any amp you like and Chris Squire's triple-necked Wal. But I'd still be scared that someone would see me with it!
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Hope that you're washed ashore with a good osteopath!

[quote name='chris_b' timestamp='1449054662' post='2920338']
Over the years I've mostly played in trios and all you need to do is get a good sound and play your bass lines.

In one of my bands the guitarist can stop playing altogether when he's singing. We just carry on as bass and drums until he comes back in. Nothing is "missing" when that happens.

Don't think you have to "fill in" and/or compensate for a "missing" instrument. It's just a different sound and feel, uncluttered and dynamic, I love it. Learn about "light and shade".

The bass and drums is a layer and the guitar and voice are other layers. As long as you keep your layer "together" it doesn't matter what the others are doing or even if they are there or not.
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Lots of realy good advice all across this thread. I would definitely fall into the camp of "don't look to find a magic solution/magic pedal to solve the problem". Rather just find where your playing/sound might need to alter slightly to make the song sound good in an organic way. Let it happen through listening to how the songs sound in rehearsal and in the gig in the new format. Chances are you will make subconscious changes to the way you play in response to the music/band format anyway.

So the "solution" might vary from song to song and different songs might suit different solutions. Some of these could be a simple as small changes to how you phrase or mute the notes within the bass line. Perhaps with two guitars blasting away you clipped and muted notes on one bass line - in a one guitar format it might fill out the sound to let those notes ring. Of vice versa - play more sparsely or in a more clipped style to add additional dynamics and create a contrast when you come back in playing more. Or it could be that that heavy rock tune is crying out for some OD in your sound, or maybe swap to playing that tune with a pick instead of fingers. Or on that big power ballad play the verse anchoring your thumb over the other pickup or at the end of the neck. Or maybe it could benefit from some chorus on the chorus to enhance the texture. Or... Or... Or... none/all of the above.

Or maybe, as Chris said, a certain song doesn't need any changes to the way you play to enhance it. There won't be a single silver bullet.

However have fun stretching how you play in the new format. And don't be too hidebound by the "I must play precisely what's on the record" philosophy either. Let's face it, if you're playing, say, "Freebird" in a one guitar band you're never going to sound exactly like the record - unless the guitar player can work out how to play three guitars simultaneously and you can double on piano! Of course, the playing must retain the essential melodic, rhythmic and harmonic elements of the song to make it recognisable. If you're playing Thin Lizzy's "Dancing In The Moonlight" and you're not playing [i][b]those notes[/b][/i] it will sound wrong. But throw in some additional triplet beats or ghost notes here and there (or whatever) and it might make all the difference in the new format. But most of all, have fun with it!

[edited for a copmlete unablity to tpye porpelry]