chris_b

[url="http://www.youtube.com/watch?v=VGdI7CXZUXc"]http://www.youtube.com/watch?v=VGdI7CXZUXc[/url]

Everlasting Love. For the same reason. . . . relentlessly upbeat and cheerful, and audiences love it.

I didn't [i]hate[/i] any of those players, and amongst the overplaying and self indulgent twiddle mania I thought there were examples of great playing and fantastic technique. There were some aspects of that technique that we all could benefit from learning, and then adapting to our styles. My playing isn't up to that standard and while I don't get much call to play like that, I know if I could do some of that stuff I'd be a better player. Every time we pick up a bass we should be trying to improve. Maybe I'd start getting some of the gigs these music college wizz kids lock out.

Most of the gigs I went to in the 70's and 80's were sit down affairs, ie Hammersmith Odeon etc, so not much scope for a rumpus there. There were punch ups in the clubs in the 60's but they were generally old fashioned, "outside now" type brawls. Pride was settled quickly and very few people actually got hurt. As I recall the press was very happy with the column inches they were able to fill with Punk and Rave horror stories. The Punks we used to see in the Kings Road were a bunch of sweeties. I bet the Adrian Goldberg & Jim Frank's editor thought this was good copy. Whether it was generally true or not? Well, why spoil a good story.

[quote name='PaulWarning' timestamp='1441810200' post='2861966'] perhaps clapping to the 2nd and 4th beat became popular when rock and roll 'invented' the snare on those beats. [/quote] Actually first played by Earl Palmer playing New Orleans R&B.

Too late. I've already claimed the prize.

Very clever.

You should still independently verify this with Fender.

I played a 5 string Lull Thunderbird a few weeks ago. I was very impressed by the whole package. What a great sound.

I have to say this isolated track does nothing for me. We play WGFA in the cover band and I went back to the original record to get a feel for the bass line.

I've just spent a week in bed due to sever back strain, initially caused 10 years ago by years of lifting Mesa Boogie cabs. This episode was caused by me just leaning over a PA amp and plugging in the leads! I'm now reassessing all by gear so I can keep the tone but reduce the weight even more. Wonky2, I was wondering about gigging if I suffered injuries that made playing a bass guitar difficult. I thought I'd give a keyboard bass a go.

[quote name='spongebob' timestamp='1441705918' post='2860966'] I'm not keen on his tone [/quote] You're not the only one. Pete Townsend didn't like it either.

Jack, at a first glance you seem to have a mish-mash of gear. Your singer might not be explaining themselves correctly. Maybe you're sound is the problem for them, not your volume. Is your 2x8 is a combo? How does that work? And, because it's higher, maybe that's all the singer can hear. Maybe these 2x8's at volume might don't sound as good out front as you think. Why do you need the 2 cabs? Is it for tone, volume or cos they're there? Like the others I think you're problem is the EQ but, assuming it's loud enough, I'd just take the 115 on the next gig. Get a good sound out of that and evaluate where you go next. I've used different sized speakers to great effect but maybe this combination is just one of those that doesn't work. If you can't make this rig work I'd just sell both cabs and get a good 212 to go with the amp.

That's 7 months to come up with a funky set. . . . for lots of cash. . . . and you pick the songs. What can go wrong? Learn some new numbers, funk up some of your existing set. They're not going to count if you played all the artists. Can your guys play in this style? My answer would be yes, even if the gig was next month.

3TS (OK I might stretch to 2TS), rosewood fret board and maple head stock. The only one for me.

I always wanted an Aguilar TH800 which goes to 2 ohms. This might be it.

My experience with functions is that you don't touch anything until everyone's out of the room, but party's can be less formal, unless you've been given other instructions.

[quote name='lonestar' timestamp='1441458803' post='2859041'] Thanks Ill have a look at that Milty. I did a furniture making course a few years ago and thoroughly enjoy working with wood. Im very lucky to have inherited my grandad's planes and saws, they didn't make cheap tools back in those days, and have picked up some very nice chisels and things over the years which are a pleasure to use. Good steel not your cheap Chinese import which have a tendency to break, are hard to sharpen and shred fingers. Can't beat a nice sharp boxwood handled chisel ! Same comfort factor as playing a well set up bass through a decent amp I suppose. [/quote] But working in our shed only needs cheap Chinese tools. I don't see the sense in using expensive vintage tools.

Sadly Guy wasn't the first to be chased away and probably won't be the last. Basschat is a poorer place without the likes of these guys.

The stereo-types are: Vintage: fat, warm, bassy, woolly, feel the notes more than you hear them, boomy, more bass than mids or top, what they sounded like in old fashioned times. Ampeg. Hi-Fi: not so fat, not so warm, bassy, clear, defined, hear every note, middy, more low mids rather than low bass. EBS. There is also a middle ground, which is my sound. A combination of all the good bits and none of the bad bits. Bergantino.

[quote name='bubinga5' timestamp='1441447105' post='2858931'] with all respect, its still a flat wound tone no matter how many flat wound tones you can get from it.. i don't want to be rude to any flat wound players out there, but the voicing of a bass seems to be canceled out by flat wound strings. maybe I'm missing something. yes i probably am. i tried a set of La Bella flats on a jazz bass i used to own, and i just didn't see/hear the point.. sucked the life out of the instrument. a subjective point of course. [/quote] I can see that flats on a dynamic instrument, such as a Jazz or any active bass, could work against the broad capabilities and natural sound, but IMO flats on a (passive) P bass enhances and focuses the tone. IMO makes a big improvement. I wouldn't argue for or against flats on anything else. That could only be a personal preference.

As far as I know, no BF owners disagree with the estimates of BF cab capabilities. So if you want to compare apples with apples you have to be looking at BF cabs being very good value for money.

[quote name='MiltyG565' timestamp='1441407662' post='2858769'] I'm under no obligation to accept your ideas as correct, pal. [/quote] Pal? Oooo!! You don't have to but you aren't even accepting that others can have valid opinions that are right for them even though they are different from yours. I play the Dog and Duck and the Albert Hall with the same approach and attitude. I give my best, always use the best gear I can find and afford and sound as good as I can. If the audience doesn't appreciate my efforts then I know the band will. So might the guy who's standing at the bar and looking for his next bass player. You don't play for the people who aren't interested in listening, you play for the people who are. I actually picked up a great gig when a guy saw me playing my guts out with a crappy band in a crappy bar in central London. That you can't accept or understand that view doesn't matter but to repeatedly tell me that my view makes no sense. . . is just underlining an issue you have.

We're telling you but you're not listening!!