jonnybass

It was more the posts earlier about people who don’t know who Tim commerford or John myung is but they know who joe dart is… the urge was a great bass, I think stu’s more recent basses haven’t been as interesting…

Personally Im not a fan of signature basses or guitars which are just standard models in a different colour. I expect something that you cant just buy off the shelf (Yamaha attitude, Roscoe Beck V) spring to mind. I am not fussed if its been used on loads of records or none, but if it has features i cant get somewhere else. I had always assumed that as his stingray's are fairly standard this was why there wasn't a Tony Levin Signature. In terms of popularity, I dont think a non-bassplayer will buy a signature bass, but I think a bass player will buy a signature bass of someone they hadnt heard. I know I wanted a Roscoe Beck V when they were released but had no idea of the music he played. Jonny

Tbh, seems like a mix up then @Woodinblackapologies amigo I must have grabbed the wrong end of the stick with enthusiasm. I have been in bands where "note for note' was required...it was terrible stilted performances and bad practicing, never again. Be interested to hear how the chat between the band members goes. Jonny

Not the biggest fan of Joe Dart or Vulfpeck, but its always good to see an artist/signature bass thats more than just a standard model in a different colour or with a sticker. Also love that Ernie Ball take chances. Jonny

So should I just sit down and stay at home because i think playing should sometimes be about fun? Who made you the music police?....that's really not very cool. I dont consider the be all and end all of my music playing to be defined by anyone else, but by me and what I want to get from it, if its a wedding gig learn the songs, if its fun, jam/sketch the songs or just play, if its original write, practice and perform. But everyone in the band needs to think the same thing. I said that they need to work out what the band is for. in a band of 4 people 50% think the OP is being too heavy on learning songs, which suggests at the very least that 50% have a different idea of the direction to the other 50%. So they need to chat it through. Jonny

I totally agree, personally I'd be working out what was in the set up for me. Is the drummer great to practice with? Has the singer got great connections for more exciting work? Is this my only chance to practice with others? or is there nothing in it for me. If theres nothing, i'd say goodbye, as politely as possible, and say why i was leaving, then leave. Jonny

Agree its why a chat is needed, perhaps the guitarist doesn't realise the expectations, or the OP doesnt realise they are the one with a different vision. Jonny

Surely it's possible to play music for fun? if so maybe homework isnt needed? Personally unless its a professional set up, id rather play with people who are enjoying it, over people who are fretting over whether we have all learned note for note the 2002 Glastonbury live version of blah blah...but it does to me depend on the purpose of the band. In this case it sounds like someone has a different direction to someone else, so it needs to be aired. Jonny

I'd say it depends on the purpose of the band. I have worked in serious function bands, and so the expectation is to learn the parts ahead of time. I have also worked with more fun bands, and there has been little/no pressure to learn songs. It makes it slower, but the point there is to relax and enjoy it. Think of it like five a sides...if you were in a serious league, you'd expect people to train/work on fitness etc, if it was a kickabout you wouldnt, why should bands be different? The problem here could be that the guitarist doesn't know which type of band he is in. Jonny

This is a super interesting thread Andyjr and Jack...

I'm no expert, but surely this only applies if you use the vehicle in the commute to your (main) job or as a commercial vehicle? If I am a bricklayer and a DB player in a dance fusion band which earns ££. I only have a smart car which cant fit my DB in so i get picked up everytime in the band van, my main employment is bricklayer I cannot see why declaring my second job is relevant on any claim. If I own and drive the band van instead of a smartcar and I am the only driver, then yes I can see the relevance, especially if I am on my way to/from a gig, likewise if its my only employment I can see the relevance. In the claims I have had, other than when the person who hit my car and drove off accused me of driving while I was 9 miles away working in a call centre I have never been asked what i was doing/my employment history other than was I on my way to work. But I may be lucky there.

scott was a big part of what got me into Zappa, that intro to whats new in baltomore...wow...but those lines on Roxy and Tom's growly tone is amazing...if Scotts seat is taken, I'll go for Tom's.. Billy Gould is a good shout...I also forgot about Eric Avery in Janes Addiction...and Michael Henderson with Miles Davis though

If everyone is lining up for Scott Thunes, I think I'd go for Tom Fowlers time with Zappa as I love Roxy and Elsewhere. Or Id want to be Tony Levin...Paul Simon, Peter Gabriel and King Crimson..yes please..

Fair enough, while in 30 years of gigging I have, or in the very early days of using multi effects at least I should have and not used a horrendous sweeping filter on a certain frequency. Thats one of the things isnt it? theres no hard and fast rules..soundscapes are all different. Jonny

Sorry Perhaps i should have been clearer, you may need to edit the sound depending on the room/stage/area sound of your gig. which is why the soundcheck (i think) becomes more important. Ideally all edits would take place in the comfort of your rehearsal space/studio, but unless you are in complete control of the sound at the venue, there is a chance some at the gig tweaking is required. At least thats what i have found. Jonny

I kinda agree with Bigredx, although I think with multi-effects being more difficult to edit on the fly soundchecks become more important. Currently I use separate pedals, but I keep looking at mulit-effects simply for the ease of programming and storing time and modulation based effects, then using my analogue filter/octaver/distortion effects. best of both worlds sonically I think. jonny

Amazing live sound and build quality, I’ve owned three (2 fives and a 4) find the body shape and size are not ergonomically good for me, but the sound live is fantastic. Only gone as my ACG is more suitable for me.

“People say the quality went down hill after this year/model/buyout”

I won’t comment on my ACG, as it’s a bit different with the filters. Passive PJ, P volume full, tone fully open, j pickup about 75%. Active jazz, both pickups on full, touch of bass boost, flat treble.

I still have my first bass...well its a bit of a 'triggers broom' its an 84 Japanese precision i picked up in 1990...its now got a new neck, pickup, an added jazz pickup, new wiring, a new bridge, tuners, strap buttons and a neck plate...covered in stickers. I love it. Had one of those H&H Bass Baby amps in 1991 too, what a sound lovely. But heavy, didnt learn though and replaced it with a Trace Elliot amp. Jonny

Is it not more around which rules (theories) you choose to use? When a guitarist plays an E minor chord, there isnt even just one rule (theory) on what notes you can/cant play, there are different rules (theories) depending on the context of the song. I always think note choice should be decided by taste and the harmony you are either highlighting, suggesting or supporting. Specific rules (theories) can help, but only in as much as a starting point for your options. Jonny

Been buying basses and stuff from the Gallery for over 20 years. Never had an issue, always been able to call or order online (although calling sometimes wasnt easy), as I live in Edinburgh. In all that time I have had one wrong order of a set of strings, was offered a refund and the actual strings i ordered, as well as keeping the ones that were sent. Website is very frustrating though. I will, at the moment continue to use both Bass Direct and the Bass Gallery, and I look at a few others too, as we need to keep as many bass specific retailers as possible.

Interesting, you are right, its not possible to fix what we dont know about, but, if its a staff member who is dis-interested/not giving you the service, and they are the only person in the shop who do you complain to? To my knowledge there isnt another bass forum which has such a UK based population, and there arent many bass specific stores in the UK. If I owned one, I'd be all over the forum checking what people were saying about my business. I'd think if Bass Direct are unaware of the feeling on here from some people its a major blunder on their part. Likewise if they are aware and not willing to do anything to remedy the issues, its not a great long term business model in my view. I'll still use them, but I do check other places before making a purchase. Jonny

I've had mixed dealings with Bass Direct over the years. Incorrect orders, lack of updates, mis-communication. Over the years I have ordered probably 20 things from them, with issues around 5 times. They have always been good enough when a mistake has happened, so I'll still use them, but only if I cant get what i want somewhere else first. Hate the website though, hopefully they'll fix that soon. Which would be a start.