TimR

Don't get emotional, it's a business transaction. Keep it friendly and answer the questions. Avoid sarcasm or whit as that will go missing in written communication. If the buyer can't string a sentence together then they're hardly likely to have been able to read the original advert. Sometimes English is not their first language, again, a lot of nuance can be missing or missed in written communication. Answer questions politely and don't get drawn into conversation that's not directly related to the object being bought/sold. Don't reply to anything that's not a direct question. It may be frustrating but if you want to sell something that's just what you have to cut through.

When I was playing the Tuba the arranger gave all the music in treble cliff. This was historical because players would often move 'down' the band from trumpet, through baritone and euphoniums as they got older. I used to spend a lot of time writing fingerings on the parts for a couple of the other players in my section. They could do it but it was quicker for me to do it.

I do both. It's useful. So put me in the middle group who don't imply anything. Previously on this subject I've said that most pop songs should be fairly quickly learned with one listen through by anyone who calls themselves a bass player. It should be any musician's aim to learn to use their ears. If you're not listening in a group situation you'll just sound like a bunch of instrument owners playing off rote. Music is like any other language.

So I guess maybe the Tab isn't 'wrong' unless the notes actually don't fit the key or chord quality, they're simply just someone's interpretation. Ultimately, and we've done this a hundred times, no one will be playing the original recorded arrangement live for a variety of reasons.

Orchestral scores are rearranged all the time.

Probably written by guitarists.

The Keeley bassist is very good. I bought Lozz's 1st one and it's always on now.

Was going to post but thought I'd do a search. Anyone bought one. Horrifically expensive... The 105Q looks pretty good as well but love the sounds on this thing. Just not sure I can justify that price.

All those singers, guitarists, harps and drummers. Just the one bass...

I have an SR400. It has PJ, and is active.

You already have a compressor. Just adjust it when you swap basses.

Unfortunately in practice, it works the opposite way round. The less available your music is and the more people have to pay for it, the less people listen.

TBH I assume it's a move to simplify his estate and make inheritance tax more efficient and guarantee a sum.

This should be pretty simple if you're playing in covers band. Copy the original line fairly closely. If your arrangement is not working becasue you're missing instrumentation in your band, listen to what those instruments would be playing. Work out if they're really essential parts of the arrangement or just nice to have. Decide which other instrument will cover that part. If it's the original bass line that's tough to copy, you have to make a decision on what to play instead.

It all depends how much the guitarist is playing with a sound that works in a band setting, and how much they're playing with 'their tone'. If its the latter, the bass will have to be EQd so that the mids cut through as the guitarist will probably be far too bass heavy. If you manage to get a guitarist to understand that the bass has the bass covered and he needs to EQ to suit the band, then you shouldn't need to do anything else. Good luck with that.

I'd suggest if someone feels the music is empty and they're not confident or experienced, then they will play more notes, play louder, more quickly and add effects in an effort to cover what may or may not need filling. But the reverse isn't true, someone playing like that doesn't mean its because they're less confident or inexperienced, quite often it'll be because they're overconfident.

It's usually quite easy to spot a guitarist playing a bass. The traditional roll of the bass is to underpin the chords, whether that be by playing roots, or harmonies and counterpoint. Overplaying to my mind is playing notes that don't actually add to the arrangement but detract from it. Unless the idea is for the bass to be more melodic, in which case it needs to be melodic, rather than playing random runs and fills. I went to see It Bites a couple of times a few years ago. To me Lee Pomeroy nailed the bass role, but I found Nathan King to be too busy. I later found out that bass isn't King's first instrument.

There are many many tunes that I've heard many many times and noticed something that I've not heard before. The idea that your audience are all musical maestros who have studied all the pieces you are going to play intimately, and then going to sit down afterwards and write a musical critique about how the vocalists intonation in the second bar wasn't quite the same as Freddie and the Bass drum was a quarter note lower than Rogers and the reverb was 10ms too much, is probably not going to fly. And in any case. As long as the words are pretty close, they're all hearing Freddie in their heads and singing loudly, and probably don't even know who John was.

There's always one band member who won't leave his car parked anywhere they decide is a 'bit dodgy'. Played with one drummer who would often unload and then disappear off to find somewhere 'safe' to park. It got so bad that he would refuse to do some gigs because he didn't want to park his car anywhere near the venue. And a singer who would turn up 2 minutes before start, go straight to the bar, arrive on stage with a pint of beer and a pint of water. Spend the first 3 songs complaining he couldn't hear himself and then have to announce his own car registration as he was parked causing an obstruction in the venue car park.

We learned a very valuable lesson one New Year's Eve. We gave the club DJ our setlist so he would know when to be ready for our 2 breaks and finish so he could seamlessly start his music. Won't ever do that again.

That would never happen nowadays with the advent of satnav.... Would it....? 😆

Played a village fair once. The first set was great. Then it got dark and we switched the lights on and the electronics went crazy. I switched a few lights off and it calmed down a bit and we finished playing on a somewhat gloomy stage. I followed the extension lead back across the field to a shed where I assume the lead had been plugged in, but it went round the shed and plugged into another lead that snaked off towards the village hall. Must have been well over 150m from where we set up. Assuming it was plugged in at the hall.

I used to play a few jazz gigs with my dad on piano and brother on drums. My dad would rustle up some local talent on brass and woodwind and put on a jazz afternoon or evening for his local village to raise some money. My brother and I were co-opted in, he would busk the drums and I'd do my best to play walking bass over some awkward chord changes written in indecipherable hyroglyphics. It was mainly just a case of keep going at the back, listen and watch for changes while the woodwind/brass/piano played huge great solos and took the heat. My brother and I, at the back would be pulling faces at each other and playing random humorous fills in relevant places and generally using it as an excuse to have fun. At one of these gigs we stopped for a break, sandwiches and wine and while I was talking to my brother about how busy it was and how well we were playing and going down, a lady approached us. "You must be H's sons." "Yes" "Well I've been watching you both. Stop messing around at the back!" Always very humbling to be told off when you're in your mid forties. 😆

Normally at the 12th fret. But if you're doing your own set up you don't need to measure it.

I think the point is, if you have instruments missing or don't play parts, the listener fills in the gaps subconsciously. They're hearing what they expect to hear, not always what you're playing. It's the same as sight. A large proportion of what you are seeing is being made up by your brain and what you're expecting to see.