chris_b

Knowing what these lists are usually like, I'm surprised how many good drummers are on the list.

45 minutes ago, Clarky said:

This popped up on instagram and it's a really nice edit of a couple of clips of Jamerson's playing that shows his unique 'hook' style. Incredible musician who never got the recognition he deserved while alive (and sadly succumbed to a foreshortened, alcoholic life).

 

https://www.instagram.com/reel/C5tsepCOOBp/?igsh=MW45c2FqaThoeXcybA==

I know you mean in terms of the general public, but he did get recognition. Motown knew he was critical to making their hit records and paid him $1000 a week, in today's money that's just under £7300. A week! That's £380000 a year!!

21 minutes ago, warwickhunt said:

. . . .  I've also trialled BF cabs in the past and they weren't to my taste... I like colouration! 

 

So do I.

I get colouration from the bass and amp, and use the cabs for volume.  Like you do with your QSC K10.

For a loud rock band I wouldn't choose anything less than a 410 or 212. The 410 could be 2x210's and the 212 could be 2 112's. If a 212 is too wide maybe the new Barefaced 310 would work for you.

I gig in a stupidly loud blues rock band and use 2 Barefaced 112's and a 700 watt amp, and am never drowned out by anyone. I'd also suggest a trolley, but I hardly use mine since buying the BB2 and SM 112's. Even with a bad back, they are light enough to carry during 99% of load ins.

Great drummer. Great players. Great songs. Great sound. Great audience.

I listen to R4 and Magic Soul(DAB) in the car and R4 at home.

One time I found a great station, Roots Radio (DAB), when driving in north London, but haven't been able to find it since.

Occasionally I'll listen to various radio stations in New Orleans. Some great music that'll never be played over here.

I stand on the left or right.

My preference is to be next to the high-hat, but I play with a couple of left handed drummers so that can change.

When depping they might have other ideas, so I'll go where they put me.

What bass, strings, amp and cabs are you using?

Bands like ZZ Top have been ampless on stage for years. IMO the lack of "soul" and not "feeling it" etc comes from the players being out of their comfort zone and letting that affect them.

Just now, jimmyb625 said:

I think they should make more of the Beatles connection, you'd hardly know they played there...

When I played there, some 12-13 years ago there was a Beatles tribute band playing on the "Cavern" stage, with a left-handed "Paul", and the place was full of tourists. We played in the side room and that seemed to be full of locals. 

I've never bought from them online, but have bought stuff in the shop and they set up and fix all my basses.

No help to the OP but they are great guys to deal with in person.

There is a service entrance  around the back. We brought our own gear except PA. There is a large room behind the stage for the band.

Ask the Cavern, they'll have their load-in, soundcheck and set times, procedures and local info etc. 

There's not much history in the place these days. The site was knocked down and when building plans changed was turned onto a car park. When planning changed again and an office block was built they rescued the original bricks and built a "Cavern" in the basement. It looks like the Cavern and is built as a replica but it's located about 20 yds to the right and the modern gig space is an add on.

If you want a bass to end all basses, check out Sadowsky.

IMO the NYC, Metro's and German made ranges are the peak of bass manufacturing.

49 minutes ago, Baloney Balderdash said:

. . . . Victor Wooten, who is a pretty dedicated 4 string player, or Stanley Clarke for that matter. 

 

VW also sounds good when playing his 5 string basses with Bela Fleck.

He told me that he uses 4 string basses for his bass clinics because he feels more comfortable playing those lines on a 4. He owns 4, 5, 6, fretless and double basses and will play any bass if it is right for the song and band.

The grown up approach.

I know half a dozen musicians working in schools today. They are teaching drums, guitar and singing and have full books.

Some of these kids come along to our jam nights and the standard is good.

In West London at least music education and learning musical instruments seems to be prospering.

Hate dictators, politicians, murderers, Married at First Sight, but what's the point in hating things.

23 minutes ago, lowdown said:

John King does a good groovy job sitting and laying it down...

 

 

Fabulous. . . .

That's one reason not to buy new basses.

You could run a lawnmower over my Jazz bass and you wouldn't notice! It's still the best sounding bass I've owned.

Songs don't care how many strings are on any musical instrument.

Play what makes you happy and gets the job done.

I'm happy that some players prefer 4's. I'm happy that I prefer 5's.

10 hours ago, Chris G said:

I Purchased A Lakland 5594 In The Early 2000s With The Bartolini Preamp & Pickups And It Sounded Fantastic ! I Sold It Like A Dummy And Now Can’t Afford One As Mine Back Then Was Around $2200, Now There Around $4500 ! I Ended Up Buying A Used 5502, I Believe Around 2011 With The LH3 And Lakland Pickups And Did Not Like The Bright Aggressive Tone So I Ordered Me The Bartolinis Like My Older 5594 USA And Now I’m More Than Happy ! The Skyline Is Still Close To $2000 Around $1800 New ! The Skyline Is Just As Good As My USA Version In My Honest Opinion, My 5594 Had A Quilted Maple Top And Rosewood Fretboard, My 5502 Is A 3 Color Antique Sunburst, Plain Ash Body With Rosewood Fretboard ! I’m Extremely Happy Since I Installed The BARTS ! Sounds Fantastic ! Most All Boutique Basses Used To Come With Bartolinis And I Now Know Why They Just Sound Amazing ! I Owned A Roscoe LG3005 With Barts Sounded Amazing As Also I Owned A Tobias Killer B5 With Barts Sounded Great ! Love My 5502 And Will Keep It ! 

My experience exactly. I bought a 55-94D in 2003 and loved the sound, feel and look. It retired my Wal and was my #1 bass for 14 years, but, at just over 10lbs started to cause aches and pains in my bad back, so I sold it.

Last year I bought a 55-02 and while I thought the sound of the LH3's was OK I missed the Barts. At 8 1/2lbs, which is light for a Lakland, it was still causing me back problems, so it was also sold. My #1 bass is now a 6 1/2lb Sandberg and I was toying with the idea of installing a set of Barts.

@Chris G which Barts did you buy?

Has anyone put flats on their Sandberg?

If so, which flats did you use.

I'm sitting on Friday's gig and standing on Saturday and Sunday's gigs.

So I'm playing the Sadowsky on Friday and the Sandberg Superlight for the rest of the week-end.

24 minutes ago, stewblack said:

. . . . worrying about mistakes benefits no one. I might think I'm being conscientious and professional berating myself for every slip, but in truth I'm just making myself tense and stressing about stuff which has gone.

 

Focus on the next note not the last one

Always this. Unfortunately with so many people filming bum notes can be broadcast around the world before you've even finished the gig!!

Last week I was surprised to hear the whole band play a different sequence of bars to the original, which was the version I'd been told to listen to. It's now on Facebook for everyone to see and makes me look like I cocked up!!!

I was in a duo with a guitarist and Amazing Grace was in the set. One night he started it in 4/4 (should have been in 3/4!) and I had 3 mins of hell, firstly trying to understand what had just happened, I didn't even recognise which song he was playing. I should have sat there and let him play it on his own, but I tried and failed to fit the old bass line into the new time signature. He did apologise afterwards!

You can talk without being able to write. Likewise you don't need to understand the rules of grammar in order to express yourself. But, know the rules and you'll be expressing yourself in more interesting ways. What you write and say is always enhanced by the extent of your vocabulary and your knowledge of grammar.

Same with music. Understanding theory reduces your limitations. You'd think the old blues guys knew no theory, but they did know the relationship between 1, 4 and 5 chords and 8, 12, 24 bar sequences, minor and major, 7th chords before a change to the 4 chord, so they did know enough theory to make their music work.

Knowing more and knowing why is always a good thing.