ezbass

I have a similar story. I played in an ‘80s cover band and we did a wedding. Fortunately for us, it was the bride and groom who picked us. However, the bride’s father, who I guess was paying our fee, was not so impressed. He plainly wanted the usual wedding fare, whilst we played things like Owner of a Lonely Heart. His face was not a picture. That said, I played in a band that did classic wedding stuff and we played one gig to a few small kids doing the sliding across the floor thing that they always do, the ‘grown ups’ (italics explained shortly) all stayed in the other room, where the food and booze were. They did eventually move into the ballroom, but only to have a punch up. One assumes that staying in the room with the booze for hours finally had an effect. Always hated playing weddings. If you play a pub or club, it’s more than likely that folk have come to see you, or are hanging around because they like what they hear. Weddings, on the other hand, is where you are the hired help and are often treated as such.

Waterfront by Simple Minds is all one note (IIRC). Derek Forbes with that one note rhythm, played with a pick (sounds like it anyway), clear and defined for 4 bars, setting up the big chord crash.

You won’t be disappointed.

Lovely peppers, but how do these affect your sound?

It really does have that ‘50s/‘60s bass of the future look.

You are a man of great taste. I don’t like to see it personally, it just looks wrong to my eyes. I did it once, during covid, for one of those livestream affairs in the middle of summer, never again.

Here’s something we haven’t considered, Gibson take over G&L and then they have a competing brand to Fender. Given Gibson’e history with annexing other brands, maybe not a good thing.

Our very own @Jabba_the_gut produced some very comparable instruments in the past. I own a Rob Allen MB2 and have played Jabba’s creations, so I can vouch for the similarity.

FMIC didn’t change the Gretsch brand, very different I know, but Charvel and Jackson still exist and they’re definitely Fender shaped objects.

Definitely truss rod adjustment needed there, the bass had probably just settled into your home's ambient temperature and humidity. I have to tweak some of mine (guitars included) with the changing of the seasons. Yep, that was absolutely clueless by the dealer

We’d had a gig booked for months, a ticketed affair. I’d seen social media promotion and I assume something more locally. Come a week beforehand and, IIRC, a whole 6 tickets had been sold. Given it was a trek and any payment would at least have to cover fuel, the promoter pulled it. Fair enough, but a bit more, up front, clarity about the ticket sales would have saved the last minute ‘are we, aren’t we?’ shenanigans.

I remember the first time I heard Danny play on something and was struck by the fantastic tone emanating from the stereo. It was David Sylvian’s Ink in the Well. That was back in the mid ‘80s and still no one else has come close to having a tone that good to my ears. We were blessed to have had him and are bereft now that he has gone. However, we’ll always have that tone on a recording somewhere. RIP, Danny, we’ll not likely see your kind again.

Oh Daddy - Fleetwood Mac

Horse McDonald at Birnam Arts Centre. Just a three piece with Horse, keys and bass. Horse was magnificent, what a voice! Fabulous, amusing story telling between tunes and this to a just small audience of about 60 or so. However, the star of the show for me was Lorna Thomas on bass. I have the unfortunate habit of critiquing live acts and the bass player obviously comes in for extra scrutiny. No negative critique from me last night, just brava, brava, brava! Playing a 5 string Sandberg California of some description, straight into FOH, via her pedalboard, Lorna’s tone, note choice and groove (no percussion remember) were exceptional. I could hear Levin and Palladino in her lines (particularly the former) delivered as if those bass heavyweights were in the room. She was funny too. Thoroughly recommended.

Bloc Farty

Nine Inch Fails

I got a warning that it might include offensive content and did I want to continue - I did and I’ve no idea what was offensive about it. Not the best demo (what little demo there was) as there was too much distortion and the rest was just stills to music. I skipped a fair bit, so I might have missed something, but this bass is not for me. It is, from what I could tell and as we had already worked out, a short scale bass on a full sized body and neck. Shame, it could’ve so much more (or do I mean less? ).

I’ve played that venue. It was rather good IIRC.

Running on Empty - Jackson Browne

How to produce a short scale version of a classic design without the need to retool. Actually, quite smart thinking from a business perspective. However, I suspect that there will be little, or no weight saving over the full scale versions, which has always been my problem with all maple Rics. The upside is that they shouldn’t look tiny on those with larger frames. In short (no pun intended), I’d like to try one.

Go Wild in the Country - Bow Wow Wow

Meet Me On The Corner - Lindisfarne

Copperhead Road - Steve Earle

Mercy Street - Peter Gabriel