chris_b

This isn't something I intended and I've never bought a bass for the hardware, but. . . . . . I've had Dunlop and Allparts (rebadged Dunlop) strap locks on all my basses since the mid 90's. Hipshot tuners since 2003 and Hipshot A bridges since 2011.

I know a bass player who used Jamey Abersold books when he was getting up to speed on DB and getting into Jazz. He was able to make them work for him. He was a great electric bass player and now he's a great DB player.

If anyone wants to play for nothing hire a studio and play your hearts out. If you want to support a charity, give them money. If someone is trying to make money off your labour then you should get your cut, as everyone else connected to the event is.

I have a big pile of Making Music mags from, I can't remember, was it the 90's?

Yes. Even the songs with Bob Babbitt on bass were hits, so sorry guys, they are still playing those song 60 years later because of the songs not the bass playing.

I was told by a mate (a jazz double bassist) that if you don't know the number you never hit the same note twice in a row. Hit a different note every time and you'll either be on the right note, a harmony or a passing note. I tried it and it works.

I'm playing with an upside-down guitarist at the moment. He does a great job. Stan Sargeant with Keb Mo is an upside-down bassist.

Just look like your enjoying yourself.

I really don't care about bad bass players. My problem is the good ones!!

This. . . IMO Wilton Felder was probably reading the part for I Want You Back, and Freddie Washington is credited with the bass line on Forget Me Nots. Lee Sklar said that he created the bass part for Do You Know Where You Are Going To by Diana Ross. James Jamerson got dots, chord charts and sometimes jst the producer humming the song. So it depends. In a Nathan East interview he said that you get written parts or just chord charts, but whatever turns up the best guys "leave something on the table". That means you put in something of your own into the song that makes it perk up, like a flourish or a lick. If you can do that on every song then the producers will be keen to get you on the next session.

They'll never get up if you throw a TE 410 at them.

I'm not sure bass teaches us anything. I think the people who become bass players are better people to start with.

I know we have to get going again, and the country can't afford endless lockdowns but new cases hit 22,000 yesterday, up from 2000 a month ago! That's not going in a good direction, even though hospitalisations are staying very low. . . for the moment. The issue is more transmissions means more variants could appear. That could be very bad.

Try his appearance on Jools The bass player has a "unique" style. Probably not the way I'd play that song, but it fits. He starts with a slide between root and 5, then gets into root-3-5-6-8 patterns. A more standard walking line would work.

Lovely.

I liked Simon Kirke's drumming style. I was always hoping that I'd get to play with someone like him. I played with some fantastic drummers but never a Simon Kirke.

It was the time. You could phone up their agent and get almost any band for your "club" gig. Pub back rooms, scout huts, community centres, town halls etc were very busy back then. John Mayall, Fleetwood Mac, Cream, Jeff Beck Group, Jimi Hendrix, Geno Washington, Jimmy James etc all regularly toured these gigs around the country. I also saw many US artists in these venues. Guys like Bo Diddley, Ben E King, Lee Dorsey and John Lee Hooker. The colleges, Uni's and Poly's also had great gigs. SW London was a good place to be back then.

Best? Possibly The Crusaders in 1976 at the Victoria Palace when they were touring the Those Southern Knights album. They had Larry Carlton on guitar and the amazing Pops Popwell on bass. Or maybe the first Cream gig at the Marquee in 1966. Or James Brown with Bootsy at the East Ham Odeon in 1970.

My Mike Lull PJ5 has stock Syemour Duncans. Sounds great. Email Duncan, Nordstrand etc and ask them for a balanced set of PJ pickups.

I used to hate the bus rides home.

The whole band is using stands. It's a gimmick.

Musical theory is only a way of understanding and writing down what you're thinking and hearing. It's a good thing if you know how to use it.

Are these amps new, returned or B stock?

It wasn't a "blanket" question. It was asked in the context of the cost and effectiveness of various plugs, from foam to moulded, via the rest. The OP didn't want that discussion, but this is a subject that is very pertinent to many musicians, many of whom play way too loud and don't take enough precautions. I see many guys on the "circuit" who now use hearing aids. Hearing aids are much more expensive than moulded plugs and never sound as good as natural hearing. It's an important subject to everyone.

I did an occasional gig in a Free tribute band. That was the first time I really listened to their songs. It was a great gig, with a great drummer and playing those "empty" bass lines was a lot of fun.