TheRev

£750?? You got a real bargain there, mate. Funny you should mention an end to GAS - I bought my Sterling in 2000 and it's totally ruined me for other basses, they just have no effect on me. I'd quite like a fetless one though

Just thought of two more: Danny Thompson on John Martyn's Solid Air Flea on Alanis Morrisette's You Aughta Know Both fecking amazing - they move the song along, don't get in the way and make you feel all funny.

[quote name='paul h' post='23458' date='Jun 26 2007, 11:41 AM']"everybody here wants you" - jeff buckley. not sure who the bass player was...might have been jeff, but it's a stunning bassline. simple and effective, and responsible for the key change after the middle 8. if i am ever having trouble improvising a slow groove i actually try to emulate the feel of this bassline. it works a treat. i got a huge ovation once in scruffy murphys in watford after shoe-horning this bassline into some horrible cover we were doing. one of the greatest songs ever written as well. if you disagree, then well you're wrong. [/quote] Jeff's bass player was Mick Grondahl. I love his playing, especially the bass line ot Last Goodbye - the double stops in the chorus are just perfectly placed. Beautiful.

Last Goodbye by Jeff Buckley. That pair of double stops at the end of the chorus get me every time.

I'd probably die if I didn't gig, I certainly wouldn't be happy in a hobby band where everyone just gets together to jam some tunes. I have two regularly gigging bands plus I play in jam sessions and acoustic nights. I'm pretty much a bass slut - any time with anyone. However, If someone wants to sit in a room on their own playing intricate tricksy stuff, then that's what does it for them. It doesn't make them any less of a musician than someone who plays original material is more of a musician than someone who plays covers, or vice versa. I've always considered myself as bassist rather than a musician as my music theory knowledge is abysmal but the harmonica player (a proper professional musician & teacher) in my band insists that anyone who plays a musical instrument is a musician - regardless of what form it takes.

Nice - I haven't seen one of those since WASP were strutting the stage with their exploding codpieces.

I been using a mixer/headphones set-up when I'm trying to learn a bass part from a recording - you can hear the track better, have more control over the EQ and are less prone to distraction. It's also good when I'm trying to learn a new technique - again you're less prone to distraction. Sometimes though, if I just want to play to relax then nothing beats plugging into a proper amp and annoying the neighbours.

You could try the student union? [url="http://www.uwesu.org/ez/index.php/ez_site/activities/societies/societies_list/live_music_best_event_2007"]UWE Live music society[/url] Welcome to UWE by the way. What course are you on?

Here's mine in action at the weekend. [attachment=2202:Dave_crop.jpg] Not as exotic as some of the others posted so far! It's a mid 90s Bass Collection SB301, originally fretted and now with EMG pickups and activer EQ and running on 18 volts. On the lines vs unlined debate - I was always a confirmed lines man, til I started playing EUB.. now the lines just confuse me!

Never seen 'em before but I'm intrigued by the ' impetuous metal tone' Not to mention 'The immaculacy drawthread stainless steel build' or 'the unique metal protectionpole pillar' And as for the inclusion of 'the mystical electron tube', you'd be mad not to 'buy it rapidly crazyly'

I reckon 80 quid is about right - cheap looking hardware and probably made of plywood. You gets what you pays for....

Chris As far as I'm aware, the Bass Exciter is a simply a bass specific stomp box version of the Aural Exciter, so yes, it should do the same job. Dave

I'd definitley go for a 410, given the band line up and the sort of music you play. Even though you're using the PA for most of your out front volume I think you'll find that a 210 just won't shift enough air for you to be able to hear yourself over the drummer. I'd also avoid the Laney - I've never played through one that was any use.

I bought one of the 300W heads as a back up and was pretty happy with it. Can't say I'm mad about the tone - it's a little bright for my tastes, but it seems solidly made and hasn't broken down yet, which is more than I can say for my Hartke... If it's all you can afford & you haven't got a fixed idea about 'your' sound then go for it - it'll do what you need. The only downside is the resale value, no bugger will want to buy it off you if you decide to upgrade at a later date!

[quote name='Wil' post='50043' date='Aug 24 2007, 11:48 AM']And here I am representing the Lawrence Weston contingent. Its all about the west side although I'd be quite happy to get out of Lawrence Weston to be honest, 3 times my house has been burgled! [/quote] Ah L Dub - the paradise under the M5 There's definitley more Brizzle bassed (ha!) people on here - I think a fair few of them are students though so they're not here all year round. Plus, not everyone made it through from Bassworld. We did all get together once a few years ago but never managed it again. Perhaps the time is right....

Bloody hell - Stapleton and Kingswood! I'm right in between you guys in Fishponds. Who would have thought there were so many bass chatters in one little part of East Bristol?

[quote name='Wil' post='49405' date='Aug 23 2007, 11:09 AM']Bristle? Ere, where zat too?[/quote] Izz by yer luk, innum?

'Ow bist? Welcome to the seemingly ever expanding league of Bristol based basschatters (try saying that after a few pints of Black Rat cider...) Can't personally help you with teachers I'm afraid as having proper lessons was one of those things I'm always 'meaning to get round to', though I've heard good things about the guys in the Drum Bank on Gloucester Road. (http://www.drumbankmusic.co.uk/acatalog/Musical-Instrument-Tuition.html) As for the stretching, it just comes with time - playing chromatic scales up and down the neck while sat in front of the TV seems to work for me! Cheers Dave (Originally from N Ireland but been in Brizzle long enough to speak the language...)

[quote name='ZPQ' post='48891' date='Aug 22 2007, 12:49 PM']The grey area for me is cover bands that try to slip a few originals into the set - I struggle to see how that work at the typical pub/club.[/quote] This is about the only way an originals band can get any gigs - you try a few of your own songs in a set of covers and see how they go down. If people like 'em you chuck in a few more and then a few more til your whole set is original material and you bestride the planet like a rock Colossus. It worked for the Beatles, The Stones and Muse.... Anyway, Even if you're in an originals band, there's usually a primary songwriter (comes up with the chord progression and lyrics) and we, as bass players, add a bass line to that song, usually improving the song dramatically In this case, as it isn't YOUR song - and you're essentially playing along to someone elses' song (albeit with YOUR bass part) - are you 'playing a cover'? Suppose it depends on where you draw the line on songwriting credits.

Why was everyone selling their Wal basses??? What was so bad about them that they had to be sold? Some people would eat their own grandmothers to own a Wal.

I'd hardly saysomeone of 5'7" was shortarsed - that's about average height I reckon. Anyway, as a proper shortarse (5'4") I generally find that I prefer smaller bodied basses and jazz-type neck profiles. Scale length isn't an issue. My main basses are a Sterling and an old Bass Collection bass. I generally find Fenders a bit too big for comfort, the same goes for Stingrays. Warwicks, Spectors etc and anything Japanese are all fine.

[quote name='The Funk' post='48245' date='Aug 21 2007, 12:07 PM']Wasn't Rob Trujillo's $1m an advance on all the money he'd make in the band in the future?[/quote] That would make more sense. Either way, he looked pretty happy with the deal!