Count Bassy

Not me, but I knew someone on a Morris dancing who left a rather nice concertina under a car to keep the rain off ... You can guess the rest.

Not so much an accident - although I didn't actually mean to do it. Playing a melodeon at an informal Barn dance event* I had had a few drinks and was playing the drummist's high hat with the bass end of the melodeon (just the ocassional crash). It was all going so well until I skewered my bellows on the hi-hat pin and the the whole bellows ripped off the frame. * it was actually a sponsored dance marathon which involved doing the same dance** continuously for about 5 hours. ** Sir Roger De Coverly - very popular in Shropshire back in those days.

All a matter of degree really. They are fine songs, but, yes, there a lot of other fine songs out there that most people will know, or at least have heard at some point. At the other end of the scale what is the point in playing an obscure song that no-one knows, and doesn't follow some sort of reckognised structure? One of the good things about 12 bar is that it is largely predicatble, so you don't necessarily have to know the song to be able to join in - which surely is one of the core things about a jam night (as opposed to an open mic)? But yes, agreeing stuff to have a go at at the next jam seems a sensible way forward.

What's the point of scientologists?.......................... ............................... It gives the Flat Earthers something to take the p1ss out of!

All fine songs that are popular for a good reason. Also songs that a lot of people know. Surely, if it's a jam night then there's little point in going off into something really obscure that nbody knows. That would be bettersuited to an open mike.

I once auditioned for a band and as requested learned half a dozen or so off their list of thirty. - Got to the audition and the 'Band Leader' said 'Let's start from the top of the list then' totally ignoring the fact that I'd been asked to learn six, and which six I'd learnt. Thankfully I wasn't offered the job.

Was it the old clothes, holes in your shoes, and empty wallet that gave it away? Edited to add: PS that's a comment on most musicians I know - not on your good self of course.

Bollards more like!

This !!!

Unfortunately, sometimes, nobody seems to tell the house bands. An open mike I used to go to the house band, and sometimes any old band, would get up and play 6 or 7 songs in a row, and even then individual members would just stay on stage all night. Makes it very hard for someone who is a bit less confident to get up and do their thing. Edited to add, one of the problems was that the organisers, who we're both nice people, would go out for fags and who ever was on at the time would carry on until one came back in.

You need to work on your repairing skill my boy.

I should bloody hope so given the price.

What is this 'limit' of which you speak?

If it is to keep the volume down, what does this do that turning the volume down wouldn't do?

Not in a derogatory way, but they look more like mother & daughter to me.

Or do it yourself !! It' not a black art - it's engineering.

Regarding this clip, and indeed most bass solos, I agree with you. However there are some really nice melodic bits out there that aren't a case of technique over taste. All a matter of individual preference of course. This is my personal favourite:

This, except I disagree (quite strongly) with the highlighted bit.

To qualify fretmeister's reply a bit: not without a serious amount of of chopping about - certainly not a case of just bolting it on.

Can't play it as at work, but from the picture I'd say his fingers are longer than mine (assuming it's a full sized bass).

Or he could be nice guy, but deaf.

I appereciated the suggestion, but had new/different set on the way by then. Not sure if it was a faulty string, just worn out, or just something that these strings do.

Hooray! New strings have completely solved the problem. The Warwick Black labels arrived so I fitted those. Not only can I get the E-string action down with the others, I have been able to lower the action on all the strings by quite bit as well. Not sure if it is just a one off rogue E-string, or if this is a systematic problem with the 'Red labels'. Tension in the black labels seems slightly higher than in the Reds. They seem slightly brighter than the Reds, which may well be because they're new, but fundamentally sound much the same. Physically the Black label B and E strings have a significantly finer outer winding than the Reds. The only thing I'm not yet convinced by is that the Blacks have a taper wound B string. It seems to sound a bit 'hollow' compared to the original (non tapered) Reds. BUt whether that is the taper or something else I really don't know. Newtones are on the way and I'll report on those when they're fitted. Thanks for all your suggestions on this.

I don't actually stand up for Mr Philips, but in the past I have felt a bit uncomfortable at the way tat people here jump on the band wagon of slagging him off. Seems a bit like kicking a man when he's down. However: That clip is appalling. Why would anyone post something like that of themselves? Does make you wonder if he actually watched it before posting it.

Fixed it for you