lurksalot

The Railway Inn , Coed Talon Pretty quiet really as the landlady has just started putting bands on , there were only about 40 in, but they rocked the place , it turned out to be a brilliant intimate kind of gig and got to re-book in 8 weeks . the room pulled the tone right out of the gear and any bass effects were pretty much lost . My sound varied from a deep boomy thud, to a less deep non boomy thud Guitars seemed to cut through OK , and in general a good night out ed for spelig

Interesting Ideas , but does it actually mean anything in the real world ? I understand that everyone in the band has to have a sense of timing and rhythm but it kind of goes out of the window ,cos you do have to make an effort to play to the drummer , he may not be responsible , but he won't look to anyone else for reassurance, it is all a bit of a jazzy trainwreck if everyone played to the agreed time signature except the drummer . Ebbs and flows in tempos really can add a lot, preferably when the ebbs are not done on someone elses flows , or maybe .....

One song that troubles me that we do ( very well ,as it happens ) is Poisons , Every Rose has its Thorn ...... I have to say that having recently done some research, I have planted a Zephrine Drouhin and can categorically state that it is a climbing rose which has no thorns I am worried that one day our fans will see right through us , should we put a disclaimer at the start of the set stating that the opinions of the songwriters do not necessarily reflect the the views of the band Having said that, I really think that they SHOULD fear the reaper

I think that monitering and sound quality is important on stage , but so is body language, a couple of glances , eye contact, nods , raised and dropped necks , laughs and even walking across a stage , helps to bind a performance. It is sometimes not easy to identify who is wrong even when you can hear it all , and it is often a surprise to the offender , just being able to hear the racket sometimes is not enough , .......... not that is ever me of course

in a previous band and after a few comments on speed variation and fills that spill .... 'Look guys ,it is NOT the drummers responsibility to keep time ' The guy is a great dude but

I have most often found that if the room or stage is boomy , i can roll of a bit of the low end and raise the output so that the mids cut through. every room is different and none seem to be be the sonically passive test rooms you would test your hi fi in , if you asked everyone in the room to analyse the overall sound of the band , you would get a different response from each , in the same way that if you ask every member of the band, it would be a different response from each

2 things here raise an eyebrow 1 [quote name='Rowley Birkin QC' timestamp='1332541708' post='1589975'] Ah well, it seems there's lots of people on here with more ambition than cash....they ask for a deal.........I agree..........they still don't buy it! Window shoppers! [/quote] this 2. I am surprised they took it back , most second hand / pawn shops I have dealt with are sold as seen , used, and unwarrantied. caveat emptor or something like , any product is only worth to you what you are prepared to pay for it, why negotiate a price if you are not prepared to pay it then and there ?

[quote name='discreet' timestamp='1332588200' post='1590316'] Saw this repeated in the early hours this morning. What a rare treat! Imagine having that amount of time and creative freedom to record an album. PG totally obsessive. Really shows why a lot of contemporary recordings are not up to standard [/quote] Did I hear correctly that the track listings were not as originally intended due to the way Vinyl did not produce the bass response quite as well nearer the middle of the disc as it was effectively travelling slower and could not produce the tones with the same energy ??? That is maybe a touch anal , but incredible attention to detail

[quote name='Lorne' timestamp='1332106582' post='1583460'] [/quote] The green Spector that is a beautiful guitar I haven't really tried enough basses to dislike properly sorry !!! or even spent too much on a bass that wasn't worth it , but , I have a feeling that Fender has a snob value with some that I don't get . Sunburst doesn't do it for me either it just seems soooo dated . the 'violin' style might get knocked but its a lightweight shortscale that my 11 yo daughter loves to pick up and play .

I certainly have not got any 'hate' impression from the thread, I think sometimes a question such as the OP raises is almost out of seeking some like minded reassurance . After all, you here people banging on about how wonderful some bands are , and if an individual doesn't get it , it is quite reasonable to ask if anyone else feels the same .

I am new to slap , but have been learning ' blame it on the boogie' in a simplistic way , It started as a pisstake with the band as we all went to see Black Stone Cherry on thursday ( top show ) and agreed to have a stab at 'Blame it on the Boom Boom ' As it hapens I think it (boogie) is a great clock type song to practice your technique.

I try not to brush a band or artist with a don't like brush , I do try to pick stuff that they do which I do like , I have to say though that there is not too much Zep or Sabbath on my playlists ,but I wouldn't go so far as to re-tune the radio if it came on

I find it quite odd that newsreaders try to pronounce foreign places in the foreign dialect , like Pareee instead of Paris , It is a shame Fiona Bruce is not reporting on Glaaars Gee Reeenjers

Dificult call , but I would argue it is yours to make, you arranged the pub gig and it was in the band diary first. The band should respect the decision you make , and if this would appear to be a bone of contention it needs some sort of policy set up to agree how the outcome is decided.

it is about time I introduced myself . My name is Kev and I live in Chester,.....top marks so far My introduction to Bass was late 70's , when as an air guitar hero, head banging away , and an uncles old keyboard and Vox amp in the garage , the neighbour told me her son had a guitar that he did not use any longer .... did I want it ? thanks a lot but FFS it had an odd shaped lightweight body and only 4 strings and they were wrapped in sdome black tape ??? Oh and the neck had a bit of a gap where it used to fit to the body and a few splinters to boot . Anyway , a couple or 3 1inch wood screws sorted the latter issue and as I had amplification, Bob became my dads brother I knew what chords on a keyboard were, and thus knew root notes, consequently played the piece of crap for a few months at school assemblies and churchy stuff , cos no one else had such a thing. when I left school I gave it to my brother who soon grew out of it and got some Ibanez stuff and played half seriously ,did some recording and played some decent gigs .....before getting a proper job as a council cleansing operative ( bin man .... when bin manning [b]was[/b] a proper job, not just wheeling a bin 5 yards) Suffice to say, neither of us knew what a Hofner violin bass was back then , and even less how to look after one ,. Nothing happened music wise (apart from listening) for a while ..........then got married .... ..... ......kids . ...... ..... then out of the blue the missus asked the neighbour (a late developing blues guitardist) to choose a new bass for my birthday . Before I knew it I was the proud owner of a brand new Yamaha rbx270 . I picked it up, played it through a keyboard ( and f***ed the speakers on it) and put it down etc etc . until I tried to learn wings/mcartney Silly Love songs and dancing in the moonlight (lizzy/lynot) and then I was hooked again . By this time ,said neighbour ( a late developing blues guitardist) had parted Co with his bands Bass player and I was draughted After a few years of the same set , I needed another challenge so quit to do some recording , however , I fell in with a bunch of guys who are far more talented than I , and we ROCK , we all love it , gig regularly , and really get on and respect each other , which amazes me , cos while I practice a fair bit I would not put myself in their league, but as me and sticks hold it down for us , it works . anyway , In still have the RBX270 but have fitted di marzio pups, play a spector ( not sure what model, but I love it) as first choice, warwick streamer std fretless ( melts in your hands lovliness) when I can, and on a stupid whim of a recent purchase, a Hutchins violin bass ( I hear you say) but I have it very nearly set up to play , and without the 3 1inch screws holding the neck on , it seems a little easier to get the action half decent . box wise , I have a warwick Profet 3. something (a rehearsal amp/gigging preamp) , Yamaha ps2500 x2 , zoom 2.1bu , peavey bassfex, schroeder 210112L , warwick 410 , homemade 1x15 beast with a eminence DLF ( for grabs if any takers) and a couple mini tapered horns I knocked up for reinforcement . To summarise , I am totally impressed with the level of debate , info , and openness on here , that I intend to Lurk for some time .....Oh .....and stick my oar in aswell .....both to stir and smooth if I can Kev

[quote name='BigRedX' timestamp='1330886551' post='1564395'] ........probably a contributing factor to why I'm single. [/quote] Nah , probably cos your Fugly [quote name='4000' timestamp='1331021539' post='1566257'] Exactly. Friday I was fine until we were announced; then everything just went. Anyone suffer from fear of heights? I mean the real thing, not just a slight nervousness. It's a similar feeling..........[/quote] Oh , I get it now , and I feel for you , I get VERY nervous even watching people in documentraries on TV at heights The worst being Billy conolly on top of the Sydney Opera house on his world tour of OZ , I fetl sick to my stomach when I watched the program of him on there. I have issues at work too with heights , but as I am technically the boss , I put all the procedures and training in place , but I can't watch and prefer to be VERY busy somewhere else

I am no virtuoso and to be honest , I don't think I ever will be , but I do find that by learning lines that push my ability I do get a real sense of satisfaction. I can learn plenty of numbers and feel I am not improving but then a song will get suggested that will really test my ability and technique , when I get it down , I often feel that I have taken a big leap in my playing skills .

[quote name='discreet' timestamp='1330867246' post='1563966'] ...... But I like to get into it more than is probably necessary, or more exactly, more than the rest of the band think is necessary! Another point is, when learning someone else's bass line, you may find yourself playing note combinations and phrases you would never play if left to your own devices... which is very interesting, and an education in itself. [/quote] This is kind of my take, I also find that having learnt different phrases, runs and note combinations, that it helps when learning by ear as you can relate easier to the line , and thus visualise playing when listening . you can ID phrases from stuff you already know and just put them together in many cases ,

[quote name='4000' timestamp='1330873255' post='1564134'] On Friday I watched the band who followed us (after dropping some of the worst clangers of my 30 years of playing)[/quote] And what happened then? did the roof fall in? did the crowd attack you ? did the promotor rip into you ? did they stop the cheque? did you start a thread ? Oh yes you did.... the worst that happened after your worst gig was to look for a bit of advice , theres nothing wrong that, if you really enjoy it, just realise that you are purely there to provide entertainment and fun to both the audience and yourself. I guess if you are playing your own compositions there is a little more pressure , but then if you didn't have confidence in the material you wouldn't play it . get out there and nail their hats on , you know it makes sense

everything above is great, If I am really struggling with the synchopation issue , I try and visualise 'junctions' where I know the vocal bit should be exactly on the note , if I get get to all the junctions at the right time I am nearly there. the next bit is to learn to sing in tune and hit the right bass notes in between

the chain for me when I first picked up the bass , but only played at school and did assemblies with a couple of strummers, and didn't really try covering others numbers, after not having picked up the guitar for a while , I heard 'silly love songs' by wings / McCartney and thought I could have a go at that , picked up the guitar and joined a band 3 weeks later , different band now but I remember nailing the line and getting a real buzz from it , even though it isn't to hard ,but it has a great grooove

Happen you could hide the nuts with a bush around the hole

This is brilliantly interesting stuff , all scientific and top , but , while in empirical scientific detail it is quite complex with varying material interactions etc . but does it mean s**t in the real world The timbre of my timber seems to change with the weather I don't have the patience or probably even the ear to pick out subtle changes in tone , but dial in the knobs and I'll soon find something I can use, having said that I wouldnt go out with a bass acoustic to play my rock set

Gooday Mate If you are from Oz you must know my cousin , he lives in Oz too Oh and welcome , ps, tell Danny ( my cousin) he would be welcome aswell

Is this a thread of carpet or cats? I would rather carpet , but the subject of cats is a bit like religion and politics .........it gets very polarised ......very quickly