Mark Percy

BASS PLAYER/ DOUBLE BASSPLAYER/ LEAD VOCALS/ HARMONY VOCALS. .................................................................................................................................................................................................................................. bass player/ double bassplayer/ lead-vocals. available. 5 string fender jazz, ampeg SVT's. 4/4 double bass, transport, fast learner, make charts, knows rock-songbook, classic-rock-songbook, irish songbook, great american songbook, ella fitzgerald songbook, blues-rock songbook, scottish songbook, what have you. blues, funk, soul, gospel, jazz, jazzfunk, rock-covers, reggae, classic rock, you name it, i will play it. interested in meeting good guitarists, for blues, jazz, covers, what have you. duo gigs trio gigs, four piece on up, what have you. please call mark percy on 020-7272-2068 or 020-7561-1347. ...................................................................................................................................................................................................................................

bass player wanted for gigging blues funk rock band. hopefully bassplayer will have some of the following things, suitable for such a band. 1) driving licence 2) vehicle 3) big powerful bass stack with big powerful head and big cab, or cabs, to keep up with marshall 50 head and 4x12 for guitar. markbass combo not suitable for old fashioned three piece, with keyboards. this band plays big old pubs, and clubs, so powerful backline important. this is not a big P.A. scenario, rather vocal cabs, with monitors, so all the power is in the backline, instead of D.I. bass into the subs and top cabs. the reason for this is easy get-in and easy get-out so a small combo no good, or markbass generation of tiny combos. whats really needed is a proper bass player with an ampeg 8x10 and SVT head, so that grinding rockfunk bass is driving the band along, with a drummer who is incredible. a big head with 4x10's or 1x15's or 2x15's is good. band has established reputation outside london. its easier to play to country gigs, because its packed out when they know were coming. the word gets around. its soul destroying to play to the barstaff in london gigs, because the gigs empty due to £4.50 a pint. or £4.50 glass of wine. were all seasoned veterans of many a campaign, so its pointless trying to bully your way in, with a combo. what we want is a big fat huge sounding bass rig, with clean headroom to spare, meshing with the power-trio, thats pumping out infectious grooves that has the women up and out of thier seats, and thier feet unglued from the floor, and happy with the band. its a fun band. larry graham funk grooves, killer shuffles, great riifs, steaming rock grooves, and the audience vote with thier feet. it would be great if you were a singer, or did harmonies, and can remember your line, instead of slipping into the lead line. if you got a good voice, all the better. if you can do backing vocals, then thats ok too.if you cant sing, or are afraid to sing thats ok too. you will need to learn two sets of 12 songs, for two sets. some gigs require three sets, so thats 36 songs. we play workingmens clubs and british legion clubs, and huge/tiny pubs, and thier not all chav's either. some of these provincial gigs are upstat up market affairs, so your expected to have good manners, and not be swearing at all, and charm the audience. we play hertfordshire, middlesex, essex, suffolk, and even norfolk. we play sussex and kent, and medway towns, even coast towns. london is a super-heavy-control-society nightmare, of swivelling cameras, taking your picture, and sending you the bill in the post, when your trying to park, and get your gear in, and not get it stolen when the wardens and cameras are harrassing you. after all, as a musician, you are a valuable member of society, providing unique skills, in improving others lives, so why be treated like a criminal, and criminalized by a system that doesent work in london, designed by anti-social personalities in govornment positions who dont understand basic life, or people, and just seek to exert tyranny and duress. come gig outside london where your valued and appreciated as the nights entertainment. go to [url="http://www.markpercy.com"]www.markpercy.com[/url] or [url="http://www.markpercy.co.uk"]www.markpercy.co.uk[/url] and go to the album section, find "mark percy live" and play track 2 'stepping out in the night' or track 3 'come to poppa' or track 12 'fool for a pretty face' yoy will find the telephone numbers on the website. this is a fun band, and we dont need the wrong guy with issues or hang-ups. so check and tick the boxes. seasoned veteran welcome, but would consider ambitious youngster, who wants to learn from old touring proffesionals. five string prefered, for those low and fat dirty gooves, but four string will do. remember that not only is mark percy a lead guitarist/lead vocals, but a bass player too. so he understands bass players, and what goes on. this is a drug free band, so as to stay on top of the music, so no bio-chemic personalities.

bass player with lead and harmony vocals available. 4/4 double bass also. 5 string fender electric bass. classic ampeg SVT rig. transport. vast experience. all styles. likes roots music like blues, funkrock, jazz, reggae, country, what-have-you. acoustic soothing gentle, or blistering rock'n'roll, you name it. seasoned veteran of many a campaign. please check [url="http://www.markpercy.com"]www.markpercy.com[/url] or [url="http://www.markpercy.co.uk"]www.markpercy.co.uk[/url] or call 020-7272-2068 or 020-7561-1347.

please go to markpercy website on the internet, to see full list of stolen equipment and van, in a totally suppresive act targeting a musician. please telephone mark percy on 0207-272-2068 or 0207-561-1347. or contact islington police station.

stolen from north london N19 area, in the early hours of friday, 118-5-2012, a mercedes T1 square front early sprinter diesel mercedes van, in white and green, with clamps, chains, and locks on it. inside was the followingequipment, so please call 020-7272-2068 or 020-7561-1347 and check out my markpercy website on the internet, for pictures in all sections, and call islington police station. 1) fender deluxe 5 string jazz bass, scalloped frets, and artworked with semi-precious stones that says MOUNTAIN inlayed into body. see my website for mark percy . 2) blonde full size double bass with EMG and ashworth pickups, in black gigbag. 3) hartke XL 4X15 metal speaker cabinet, with "mark percy" CNC routed into it. on it. 4)hartke XL metal speaker 2X15 in mega 250 cab, same as norman watt-roy's cab 5) ampeg SVT-II with unique front-end attenuator mod, in mesa boogie diesel amp wooden case. 6) ampeg svt 3 pro in black oakley rackcase 7)marshall PA 400 in bag 8) 2x10 JBL PA cabs in green. 9) monster bass cables in red flightcase briefcase. 10)monster cables in PA leads black ABS flightcase. 11) double bass stand double bass metal stool, beyer boomstands, quicklock PA tripod stands. 12) trace elliot boxer 30 with hartke XL 10 metal speaker. 13)marshall MG30DFX 14) huge realbook folders, huge folders of country, blues, funk, rock, jazz, with charts and lyrics. 15) bass and guitar re-fret-tools, 16) teaching folders. 17) camping gear, first aid, military rations, suvival gear, towropes, rescue ropes, jumpleads, auto tools and diagnostics.

mark percy main road 4/4 blonde double bass stolen 18-5-2012 inside mercedes van. N19 area north london. this bass is a unique instrument and has the following features. EMG 6 string precision bass split pickup on end of neck, control box under neck at top, shaller oyster bottle cap pickup at neckjoint under fingerboard, fishman B100 vintage bridge pickup located in bridge wings, and cast metal black tailpiece, black leather bowquiver, vintage mahogany endpin and special shaft, with footrubber. pirrastro strings, heavy duty soundpost, huge fat resonant sounding bass, that is tweaked to maximum. heavy black gigbag, with many quality leather straps from horse farmshop saddle and riding leathergoods makers. you can check out my site to see similar 3/4 double bass in brown. on [url="http://www.markpercy.com"]www.markpercy.com[/url] under FIRST PRIORITY this is a totally suppressive act, designed to destroy a musician. this bass has done many many gigs and sessions , and is battered from so many trips. it doesent have more miles on it than a 57 CHEVY, but has a few dings and scratches. please call mark percy on 020-7561-1347 or 020-7272-2068 or call islington north london police station.

mark percy's main fender deluxe jazz bass 5 string stolen. see [url="http://www.markpercy.com"]www.markpercy.com[/url] under EQUIPMENT section, or MAIN priority section. this bass is heavily customized. please call mark percy on 020-7272-2068 or 020-7561-1347 or call islington north london police station.

stolen from N19 north london area inside mercedes stolen van. one vintage ampeg SVT-II valve tube amp head, inside mesa diesel black wooden case. this amp has a noticable front end modification, whereby there is the addition of an additional knob, where the BRIGHT jacksocket used to be, that attenuates the input gain, to cope with active basses, and high output passive basses, to reduce klipping, and match the input level, like on later ampeg tube bass amps. a picture of an almost identical amp can be seen on my website [url="http://www.markpercy.com"]www.markpercy.com[/url] under EQUIPMENT section. please call mark percy 020-7561-1347 or 020-7272-2068 or call islington north london police station.

stolen from north london N19 area. inside stolen mercedes van. one heavily customized fender jazz bass deluxe, with following modifications. scalloped frets from twelth 12th fret upwards, with double dot inlays all the way up the top of the neck, heavily artworked back of bass, with deep inlay of polished precious stones fragments and rainbow moonstones, in the shape of MOUNTAIN, with a cross on the T part. the neck heel joint is shaped for upper fret axess. on the front is a funk channel carved for the developed thumbing technique of larry graham, where the channel lets you get your thumb under the strings, for monster thumb-funking grooves, like on JD basses. it also has thumb recesses by each pickup, a bronze nut, tortoiseshell scratchplate, cherry sunburst, the neck has been shaved down, and oiled, gem inlayed headstock with cross and moonstone, has cigarette burns on headstock, and is battered and worn everywhere on the body and neck from endless gigs and sessions. this is a totally suppressive act, designed to destroy a musician. this bass is totally unique, and can be seen on my website under EQUIPMENT to see the rear artwork, and under FIRST PRIORITY to see front of bass. please call mark percy on 020-7272-2068 or 020-7561-1347 or call islington north london police station. theft occured on 18-5-2012 as a targeted musician.

stolen from north london N19 area. on 18-5-2012. a mercedes van was stolen, with the following bass gear inside. ampeg vintage SVT-II head in mesa boogie diesel black wooden case with special modifications. ampeg pro 3 in oakley black rackcase. hartke metal speaker 4X15 cabinet with mark percy CNC engraved into it, custm built for mark percy by APS roadbox. hartke metal speaker 2X15 in MEGA 250 series CP cases 70's cabinet with expamet metal grill, this cabinet is just like norman watt-roy's old JBL K140 2X15 cabs. one stentor 4/4 blonde ply double bass, in black gig bag, with EMG pickup system, and fishman pickup system. trace elliot boxer30 with hartke 10 inch metal speaker. marshall mg30dfx combo. bass leads red flightcase briefcase full of bass monster cables and shure 545SD unidyne II microphones. leads trunk full of monster cables, and shue 545SD unidyne III microphones. green JBL E 110-8 2X10 PA cabs. marshall PA 400 in soft SKB zip up bag. qiucklock tripod stands. double bass stentor stand in grey. double bass metal adjustable stool in black. advanced refretting tool kit. advanced bass tech tool kit. huge folder of lyrics and charts for american songbook of jazz and blues standards. huge lyric and charts book for rythm and blues and rock/country/pop songs. spanning decades. camping gear. first aid kits. rescue gear of towropes-jumpleads-automobile/truck/tools. clothesbags full of decent clothes. this is a totally suppressive act, depriving a musician of tools and transport. occuring on 18-5-2012 this has happened 4 four times in four years, from also home, storage, vehicles, garages. of intense targeting for total wipeout. please call mark percy on 020-7272-2068 or 020-7561-1347 or call islington police with any information.

speakon connectors have greater surface area connectivity as opposed to phono jacks. thicker cables, like 4.5 have less resistance than thin cables. replacing your skinny cables, and phono jacks, especially on big wattages, noticably improves the sound. P.A. guys know this. so should bassplayers. use decent electrical solder too. the old leaded solder is great, and flows out nicely, like an argon-arc TIG weld. plus, you will have less hassles too. buy the four pin speakons, as the two pin ones are incompatable with four pin ones, and are not interchangable, and cause trouble. get an engineer to do your amps, with a preferred hole cutter that works by tightening a nut and bolt to punch the larger hole. that way there is no unwanted tank cutter filings and swarf kicking around, causing enturbulation, and generally enturbulating the area with turbulence. cheers, mark.

secondary dominants are bassicaly the use of a five chord, often written thus, G7 or F7 or any note for that matter, placed elsewhere in the scale of chords. the major scale of chords goes thus:- major, minor, minor, major, major(V or V7) minor, minor 7th/flat five, major. the roman numerals are I, II, III, IV, V, VI, VII, VIII. so you can stick a secondary dominant on the two-chord, or the six-chord, for starters. you can actually stick them anywhere. so you use the dominant shapes of triads, arpeggios, extended arpeggios, to make the chord sounds in thier new places as well as its origional position. there are minor stacks of chords. there are also modal stacks too. go to my free manual for bass, on www.markpercy.com there you will find tons of useful stuff for free. cheers, mark.

the EMG precision 6 string pickup is ideal for bass players, when confronted by a medium to large gig, and soundman enquires into your setup. by making a slanted block to mount your pickup on, that fits the end of your fingerboard, with velcro, or hidden mountings, the P.A. guys will absolutely love you, when you plug into the D.I. boxes, or stage box inject. the sound is wonderful, along with your normal transducer pickup, removing thier headaches from the equation. its easy to make, and install. you can even make a controls/battery box hide under the fingerboard. cheers, mark.

soapbar humbuckers for bass, especially kent/arron armstrong, or EMG, amongst other makers, benifit enormously from parallel wiring. the reason is that the highs are opened up from changed resistance. wired in parallel, the unit reads predictably one quarter of its origional resistance. but dont be fooled. resistance is not the end all of it. the magnet mass, poles or blades which are wound around, and the number of turns, along with size, produce big sounds, despite the reads on the meter. the lows are clear, fat, and articulate as well. unlike the humbucking sound, which doesent have the same highs, or lows. shure its louder, and more brutal, but the commonly overlooked fact of parallel wiring, with misdiagnosed low read, is that it is very clear and articulate, like a fender jazz bass, yet bigger. in a big gig, this cuts right through the mush, if the music has cranked guitars, creating a noticable clarity in the rythm section. obviously the rythm section now changes, as the clarity changes the perception of the music, and obviously perception will change according the to the differences.

Horn loaded cabinets are by thier very nature, more efficient. one has only to stand in front of a function one rig, to grasp this fact. additionally, the low end is assisted considerably indeed by horn technology. For onstage purposes, there is the factor of short throw and long throw. a good example of short throw would be micheal anthony's early van halen rig, of scoop bins, with JBL/GAUSS 15" drivers, with SVT mark one heads, and impedence box, for ganging up heads. the low frequecies are fabulous, with foward facing drivers. Fashion removed horn cabinets. until ashdown added thier recent single throat turbosound TS115 inspired bass bin, to the adam clayton rig. obviously adam has used the ampeg 8x10 and ampeg 2x15 V4-B folded horn cabinets together, and as anyone who has heard this combination will tell you, is low end solid. For a small gig, a good combination is 4x10 and a 1x15 and a bin thats 1x15. you could even use a 4x10 with a 1x15 bin. there are many different exponential bins, foward facing rear horn loaded, and rear facing, double and single throat. when dan armstrong invented the 8x10 bass cab in the 60's, the five string bass had not been invented. JBL list in thier old technology write ups, that the 18" driver can accomodate low "C" which, is near enough low B. so, five string basses demand larger drivers, as the 8x10 doesent really handle a 5-string bass, even with the acoustic coupling effect of eight ten inch speakers in close proximity. linn acoustics pioneered the isobaric concept for bass, that halves the resonant frequency. orange isobaric cabs, are a semi-complete good example of isobaric for bass. isobaric is, partially horn loaded in design. and these commercially modified cabs create wonderful low end, and dont offend the fashion-senstitive at all, because they look conventional in appearance. thus not offending the considerations and significances of the fashion- sensitive bass player, who may get enturbulated, or enturbulate themselves unwarrantedly, by an unfashionable appearance of an old style bass bin cabinet. in an industry of "here this morning, gone this afternoon," fashion has tagged the horn loaded cabinet as 'NOT OK' for bass players who never made it up to a touring level of the game, but those who did, ask the crew about side fills, and low end cabs out-front. DJ's realise nowdays, in the struggle to get function one cabs, that the old turbosound full-range, light-coned cabinets, sound staggering with huge power-supply amps, when they hook it up to thier decks. even the touring bassplayer listens to the huge P.D. cabs out front, when wandering down to the desk, on his wireless, and listens to the difference to D.I. and miked cabs for bass guitar. so on a small scale, a tasty bin in your rig, works wonders. you could even use a 1x12 bin with a 2x10 it shows up most, on using a double bass through a bin. cheers mark.

when deciding to replace, or build a new driver combination, when using 400 watt tube heads, it is important to note that new power piston high wattage drivers are wholly unsuitable, and require vast wattage headroom to get them moving. and are insensitive and unmusical. in a 2x15 for example, two eminence CB158 are just right. in an 8x10 the eminence B810 10" are highly musical. or the B102 10" in a 4x10. celestion do fantastic bass guitar speakers, in thier orange or green range. and so do fane. the idea is to get the cones moving on this type of tube amp wattages. marshall use eminence in the bass 8x10. to avoid disappointment, realise that wattages are not synchronised to performance. a 101db low wattage driver, at only 150watts, will move a lot of articulate bass. valve watts different to transistor watts. the envelope is different, and sounds much bigger. in the old days a whole collection of 100watt heads, and 4x12's sounded very big indeed and was pushing a lot of sound out. so the relationship held true, 100watt 4x12's were getting going on the tube heads. the guitarists know this to be true. obviously a bassplayer wants a 400watt head and two cabs for clean headroom, but not the disappointment of 2000watt cabs, on a low output 400watt tube head, as opposed to an 800watt cab responding well, or two 250watt cabs, seriously moving to a 400watt tube head, that's not really clipping. nowdays watts is cheap. so the DJ's demanded power pistons. DJ's that are in the know, now have gone back to old turbosound cabs, as they are so very musical. and without heavy cones like modern P.D's and even old cambridge audio slaves, with huge power supplies, but that is another matter for another day, the subject of transfomers. cheers, mark.

the mesa boogie bass 400+ puts out only 250watts on a scope from 12x 5881 tubes. the reason this amplifier sounds huge, is the preamp section relationship to the power stage. the old 6x 6550 version, called the mesa boogie bass 400, pushes nearly 300watts. americans view wattages differently to the english. the hiwatt 400 pushes under 300watts.