CS2

I personally suscribe to the 'my gear my rules' philosophy. If someone turns up without a bass amp they are assuming they are going to borrow one. Not wise. Now the anecdotes... I did a two band gig years ago and my guitarist said that the other bassist had asked to use my amp. No. The message was sent and the guy approached me as asked direct. My question was in the vein of 'why would you turn up without an amp?'. It turned out that the guy had come to the gig straight from work and the deal was that his Dad met him at the venue with his gear, only to find he had brought his 15w practice combo (probably cos it was lighter). When I stopped laughing I let him borrow my amp. I was once asked by a kid at a multi band gig if he could use my bass ( I had a Status in those days), the answer was no. I saw him use my mate's Westone and afterwards, spoke to their drummer. Turns out the kid had bought a bass, couldn't play it and someone had explained that it was a fretless, so he was borrowing fretted ones when he could. I did feel sorry for him.

I'll try to get close to the original and sound. It won't be a carbon copy. Unless you are doing reworked covers like Nouvelle Vague, I think that the song has to sound at least like the original.

[quote name='Commando Jack' timestamp='1339153117' post='1684397'] Everyone's covered the basics for changing the drummer's sound and technique etc. Another solution I've seen that can work for some venues (usually churches) is perspex screens like [url="http://www.drumscreens.co.uk/tech%20specs.html"]these[/url]. The drummer plays at his normal volume, so you get the sound you admire, but the front of house volume is reduced and balanced through the PA. The drummer would probably need in-ear monitoring though, because the kit is really bloody loud behind the perspex. It would work for your typical wedding venues that are a stage at the end of a large rectangular room, but not for Bilbo's restaurant example obviously! [/quote] Screens can help or hinder. I have played in a church that has used various drummers over the years. At one stage we had two regulars, one who was deafening and one who was very quiet. When the screens were installed the loud guy played as loud as he could to compensate and still overpowered the band. The quiet one couldnt be heard on stage and the timing fell apart. So the kit got mic'd up and the monitors had to be upgraded. [quote name='Dr.Dave' timestamp='1339153597' post='1684414'] Martin's a very experienced and skilled drummer - he could just play quieter , or he could use practise sticks. But we won't allow him to. His being a big hitter is part of the reason we chose him and he chose us so if venues don't want that they're welcome to go get another band. When I tell publicans what beer to sell they can tell me how to play. One of the benefits of not being fully professional is you don't have to compromise your music. Remember , also , to never respect the opinions of publicans - chances are they're just drunks who can't get proper jobs. In fact only speak to them to book gigs or ask for your money. 30 + years of gigging have taught me it's better that way. [/quote] If you continue to get repeat bookings then you are playing at the right volume. As a general point, drummers are different and IMHO they learn to play at a certain volume and after a certain point cannot play any other way. Muscle memory? The loud guy in my earlier story started out in a brass band where the conductor would scream abuse if they were not loud enough. The soft guy was continually told he was too loud enough. Ironically when he played in a covers band the clients always complemented him on getting a good sound at very low volume. My 20 year old son has been playing at home since he was 6. He has always got shouted at re volume. I arranged a two band thingy at a party recently and my son used sticks yet the other drummer had to use hotrods to get the same volume. I once did a band teaching thingy and the drummer was a tiny teenage girl who needed to be mic'd up when she hit the drums as hard as she could. Regretably I've been involved in some events with two drummers playing and one couldnt hit the kit as loud as the other. In the end the drummer has to be a fit for the band. I'd rather play with a soft one and so does my tinnitus.

I've had various numbers of basses and guitars and bought and sold when needed. My sole bass is an Ashbory I bought in 2007/8. I now need a 'real' bass but really want an EUB as well. Multiple instruments is ok if you use them all or they are an investment.

Or get a a luthier to reprofile the neck.

[quote name='El Bajo' timestamp='1338503068' post='1675698'] I am just an average guy that's [b]played in my bedroom for the last 13 years[/b] and decided to just go for it and join a band...I got lucky with this one. So if I come across as a noob, or naive it because I am! [/quote] Before I comment I'll give some background. I've played bass and guitar (yes both) in bands since 1980. I've been a sideman, dictator and part of a democracy on both instruments. I've overplayed and stopped people from overplaying. As sideman, my reading of this situation is that it is the guitarist's 'trainset' and he gets to do what he wants. If that's acceptable I'll stay, if not I'll walk. I once played in a band where the singer broke up the band and went solo... with the same band. He would play on most of the tracks and used a synth bass for all but one or two tracks on each CD. He admitted that he had replaced tracks with the old 'leave your stuff here' ploy and used their gear to replace parts often using their lines. I never left gear in his home studio. I played with him for a number of years. We did interesting gigs including a prison. It was fun. Before that, I played live with a guy for 3 years and never played on an album, all synth or producer played bass lines. Again, he got interesting gigs including a football stadium. Playing with each person, often for free, taught me various things regarding gigging etc. I didn't get paid but I learnt a lot and didnt pay for the 'lessons'. As a songwriter/bandleader, the red flag to me is the bedroom bit. I've played with them and in my experience, they've got all the technique and can nail a recorded part in double quick time. However playing live IMHO is about communicating with other musicians. I think of it as a line from me to the other musicians. I've played with very talented instrument operators who contribute nothing to the band and look bored. I've played with people who couldnt name the notes or chords who played well with others and adapted their lines to fit the music. I have no ambition for my 'solo' music, the last gig was at a party in May and the one before that was on the back of a lorry in a pub garden in 2004. Many of my friends don't like it and many musicians dont want to be involved. Even though, I am very protective of it (it may be crap but it's my crap) and I would rather record the bass myself than let someone 'have fun' on it (forgot sho typed that). I've used two bass players, one who is the best I've ever met and the other who has an amzing attitude and considers himself not very good. However both constantly walk on that fine line between too busy and too sparse. In summary... Anyone can operate a bass, learn how to make music on it. (This is a reminder to self as much as anything else)

Bus journey from Luton to Norf London with a DB, no thanks...

Thanks for the replies.

Can you get a 3/4 DB in a family saloon? Mine has rear seats that come down but has a boot not a hatch. It's a Bora btw a bit longer than a Golf. Might be the reason I go EUB.

I think it's what one is used to. I played bass and acoustic guitar for many years, 40-100 on the bass and 13's on the acoustic. When I started playing electric in the late 90's I used 10's. After a few years I changed the acoustic to 11's I now use 10's and 11's depending on the guitar ( I have too many). I made the swap to guitar more or less exclusively in 2004. A couple of years ago I bought an Ashbory and this year have been borrowing a Precision for a gig lined up. The 40-100's on the P seem really thick. After the first 4 hour rehearsal my hands were red. After the second one they were ok. Now it's like I never stopped playing. The guitar strings seem skinny again...

Lot's of comments here and I'll make some... RE that snakes and ladders game, I had that 45 years ago, thanks for reminding me that I am not a spring chicken. RE dings, there's three types for me, buckle rash on the back is great, proves you play it, chips on the front of the body, painful but heals, any damage to the neck is unacceptable, I've had necks repairs because they had tiny amounts of damage. I've not bought instruments because the neck was dinged, even one. Oh I forgot tarnished hardware, I like that too. I must confess I actually bought a cheaper guitar to use as a beater. It's still in good nick which is ironic. Perhaps we should shut up and play our guitars.

[quote name='discreet' timestamp='1317980681' post='1396835'] Holy crap! I would actually rather f*ck The Proclaimers than do that number. [/quote] I must confess that not only have I done it, I chose it. However this is the version we did... [url="http://www.youtube.com/watch?v=DG0gl4p2F-g"]http://www.youtube.com/watch?v=DG0gl4p2F-g[/url] "And if I haiver whatever the f*ck that means", is my favourite alteration.