dclaassen

I cannot remember the name, but there is an app which tracks tempo changes while a song is being played. I used to play with an older drummer who also liked to slow down. He actually ran the app during the gig. It was useful, but not a cure-all by any means.

I need to do a top-to-bottom update on my Pedulla MPV-5. I'd like to have the preamp tested and sorted, wiring checked and replaced/mended where needed, and new pots installed on all 3 controls. It would also be great if the tech could fashion and install a truss rod cover. I'm in Huntingdon, and could drop it off either Cambridge or Peterborough way. I don't want to have it laid up in the shop of weeks, however. Any reccomendations?

Then there is metronomic tempo awareness vs internal tempo awareness or “feel”. Members of a large concert band probably all do individual practice with a metronome, but in rehearsal take cues from what they hear and what they see from a director. We do the same thing if we’re not playing to a click track. Take a song like (old guy moment coming) “China Grove”…guitar starts, then bass, then everybody else. Locking in means being aware of the intended tempo of whoever is setting it. Swing is harder and more of a negotiation….calls for lots more awareness and trust between bass and drums.

Nope…,usually just needs to turn down!

Stage left and as far from the lead guitar as possible…

However, playing a gig where you constantly have to push the tempo to keep the drummer from slowing down makes for a long evening….

The light is really effective, but I would vote for the watch/metronome with the tactile feedback.

Works every time!:)

Nice tone!

I cannot see where it’s based on talent. What you play and how you play it is your preference. Lots of bassists at lots of levels playing lots of different instruments…makes things richer and lots more interesting.

Thanks for all the wonderful advice above. The sound tech was pretty hands-off, I offered the post feed, which worked great and resulted in a really accurate sound. Another of the advantages of this amp is the choice of pre or post DI outputs. I know it's heavy, and I'm going to get a lighter 4x10 to save my back, but I can't justify getting rid of it!

It's funny how much variation we have on what we like/hate. Guess that's why there are so many choices out there.... I don't care for the way a longhorn bass looks, but love the way they play.... Mostly though, I don't care what it looks like as long as it does the job.

Hard to remember..the last new bass I bought was in 1978. I think I dinged it getting it out of the store...:)

Deal....

Not hate, but some I just cannot get on with...Ric's with that really thin neck...G&L tribbys with that fat neck...anything that weighs more than my car....mostly it's all about feel and tone. I used to play an RD Artist, so not much bothered by weird body shapes... Oh, agree about coffee table basses, unless you are a hardcore jazzer...

I'll take any and all that you are going to bin...:)

Getting ready to go on. Sitting in with Stevie, Daniel, and the wranglers at the lattice house in Kings Lynn. 24 fret jazz bass with my trace rig.

Thanks to all for the great replies!

I've not had the chance before to need to DI my Trace GP12SMX before, and have to this weekend. I have left and right post eq and also a pre eq option. I know the difference, but would like a Trace veteran to give me guidance on which to use with a house sound engineer. Thanks!

I'm also thinking about going from my original 410 Trace cab (sounds great, heavier than the sun) to a pair of 210's. I would love to be able to go somewhere to compare tone. I tend to always find bands with loud guitar players to dep with, so I need the Trace head to not get buried. Leaning toward the Fender 210's...seem the best lightweight value for money.

Music theory, as it was taught in my uni classes, focusses almost exclusively on 18th-19th century composition rules and techniques. This is helpful in a lot of way to understand why certain things sound the way they do, but, at best, it is used to mostly describe what has already been composed. Jazz players, and, more importantly, jazz composers, need this, plus a whole range of other tools to understand and compose that music. I honestly think that the ear training that almost always goes along with theory classes is more important when gigging. I can't remember the last time I worried about parallel 5ths or V of V pivot chords in a piece of pop/rock/country music. Good for you if you know theory. I don't think it gives those of us who have gone through that training any especially vital information when playing "Mustang Sally" down at the local. I sure would not wear my "I have a MuED degree" t-shirt to one of my country depping gigs.....might make me look like a bit of a ......(fill in appropriate descriptive word here).