chris_b

Lardy, buy a couple of Wals to take with you. They fetch a good price in the US. Bring several all original, custom colour, pre CBS Fenders with you when you come home.

[quote name='grandad' timestamp='1434523187' post='2800324'] [url="http://www.vulture.com/2015/04/brown-sugar-still-tastes-good.html"]http://www.vulture.c...astes-good.html[/url] [/quote] This is the downside of the internet. Anyone can put up the most ridiculous and fanciful bullshit and people will believe it. Edit. . . just re read that .. . . Vulture not Grandad

It seems you sound check at a different volume level to the gig.

[quote name='Phil Starr' timestamp='1434353044' post='2798761'] But a pub running bands once a week is investing £13,000 in a year. they wouldn't do this without thinking it through in any other area of their work [/quote] We got dropped by a pub last year. The landlord said he spent £40,000 a year on entertainment and needed to put bums on seats, and we didn't bring enough. Several of his bands didn't. IME cover bands generally don't bring a ready audience, especially when they are doing 80+ gigs a year, but he wanted young local bands who would pack the place with their mates. I really don't see that happening twice a week for 52 weeks of the year. These places need to generate their own audience for band/music nights who will be loyal to the venue and turn out to see the bands, week after week. The guy liked us, we did several of his private parties, but his town center pub didn't hold on to the punters for very long. The band is an easy scape goat.

Leo Fender must have thought it made a difference, as even after it had been removed on Fender basses, through body stringing was included in the final design of MusicMan basses. I think he left it out on G&L though. I can string through the body on all my basses and I've tried on 2 of them. I didn't notice much difference in sound or feel, but then my senses aren't that finely tuned. There are no down sides to through body stringing and only you can decide if you discover any benefits.

I was flat broke, desperate, and went for a job at Wall's the ice cream company. The bloke behind the desk told me he wouldn't give me a job unless I cut my hair. Apparently I wasn't hygienic with long hair. I thought he was going to hit me when I asked if the women were as unhygienic. The landlord in a pub in Mayfair refused to serve me because of my hair; "You come into my establishment, in Mayfair, and expect to be served....!" . We were treated very badly. You kids can wear just about any fashion you like today because of us [i]pioneers[/i].

[quote name='spectoremg' timestamp='1434233357' post='2797905'] Is there a point in a man's life where he should give up long hair? [/quote] More power to them. No comments these days can match the sh*t we got for having long hair back then. Never give in.

Double bookings are par for the course when playing in pubs. Most landlords can't run a pub successfully so are not going to excel as live music promoters. This week we've discovered a pub and gig (a pretty crappy one at that) has closed. No one bothered to tell the bands. Our gig was in a couple of months. We send posters a month or so before the date (surprising how many "go missing" so the gig isn't properly advertised). We then phone at the start of the week to confirm the gig. Hopefully any problems are discovered then and we don't have to travel in vain. If you don't take these precautions, you have to make sure you're always the first band at the gig.

[quote name='scalpy' timestamp='1434048639' post='2796313'] You should practice without the drummer as a matter of course. Everybody in the band should be able to keep time, moreover be able to groove and get the song going without one. No machines, no shortcuts. Makes a huge difference to how tight your band is. [/quote] +1000 Sounds like the OP needs to rehearse without a drummer more often to get rid of this over reliance on a "timekeeper", improve his counting and to boost his imagination.

GB STL 9.2, sounds great with BF cabs.

3 basses and 3 3.5" wide leather straps, with Dunlop strap locks. I'll always arrive at a gig with the strap because I never take them off, and I never take the gigging bass out of the bag at home. Years ago I broke a strap so now I carry a spare in the accessories bag, just in case it happens again. I've not needed to use it, but once I did have to lend it to a guitarist.

She's also on 2 of my all time favorites: You've lost That Loving Feeling and River Deep, Mountain High.

I don't want to play one, but I like listening to the Bach Cello Suites.

A Precision. I've owned one since 1969 and only stopped playing it in the mid 90's to move to 5 strings. It feels like coming home to be playing a 5 string P bass for the last 4 years.

Try one with wider spacing. Mine are 18mm and 19mm.

A 5 string bass is not a gimmick. You have extra notes and an extra string. They are totally different options. The extra notes allow you to play root and passing notes lower than E and the B string lets you play across the neck rather than up and down it. Also you don't have to manage special tunings or take multiple basses to a gig. A 5 string bass is just a very versatile instrument that gets more jobs done with less fuss. A 4 string bass is a good option, and I'd suggest that if anyone can't see a use for a 5er then they probably don't need to change.

[quote name='Guinness21' timestamp='1433755875' post='2793568'] Instead of the Vanderkley and bergantino masking my 'true bass' sound', the Barefaced cab is adding this sound. [/quote] I think you're going to get some disagreement with that view. I don't doubt you got that sound, but how can a cab add anything which isn't already there?

This is a great song. Bob Babbitt usually gets passed over when bass lines are getting praised. One of my favourite bass tones and lines is his playing on Midnight Train To Georgia.

The only song on CK's list that I like (and own) is Feelin Alright. A fantastic record and I was surprised to find out it was CK on bass. The rest are not to my taste at all, but that doesn't stop them being excellent songs and recordings and great performances.

G21, just trying to explore a few possibilities. I hope you find a band soon that lets you get the CN212 and enjoy a great sound from a great cab.

To the OP, you don't say what gear you've been using up until now, and what amp you were using to run your tests. My experience when moving up a level with both amps and cabs was that everything I'd come to expect was different. My comfort blanket was gone and I needed to look at everything again, including my basses and my technique. Your signal chain is only as good as the weakest link (as they say), and previously unnoticed weaknesses can shine out when you upgrade. In my case my confidence took a hammering when some "short cuts" in my technique were exposed as not being as clever as I had thought. How do you know your bass is the [i]one[/i] any more when it's not being smothered by an average cab. Sometimes you hear your bass for the first time, and it isn't always the instrument you thought it was. Other causes of a "clicky" sound could be the bass set up and the amount of tweeter dialed in. IMO a great bass sound depends more on low mids in a live setting, rather than a ton of bass. Many cabs don't give an honest reproduction of your sound and it can be a shock to hear what a good cab can do. Having said that, I've been playing a CN212 for awhile and I'd recommend it to anyone.

These days we aim to play no more than 3 gigs a year at any one venue. In years gone by I was in several bands doing weekly residencies but as far as I can see those opportunities don't exist anymore. If you're playing a lot to the same audience you really have to up your game.

There is no one more iconic than Jamerson in pop, R&B, Soul and funk bass playing. He was an influence to everyone playing bass (and even non bass players) from around 65 onwards. Look at the players in the Shadows of Motown book who have cited him as a major influence. That list is an A to Z of the best bass players on the planet at the time. The timeline for most of the popular music played today goes back to the swing bands in the 30's, but "patient zero" for everything you hear now was Louis Jordan. Rock and Roll came from him and everything else has grown out of that.

I had completely forgotten about this. The little girl has grown up. . . . . and she's still an amazing player. [url="http://www.youtube.com/watch?v=qkTc-E9aGIc"]http://www.youtube.com/watch?v=qkTc-E9aGIc[/url]