TrypF

I know a very good bass player who plays in a funk and soul band, very much a 'pocket' player. Once, their singer called for a bass solo - a complete surprise. Bassist played one note a bar, looking straight at the singer all the time. Didn't happen again!

I have three basses and, at the moment, they're all going to be getting a workout soon. Sunday, I have a gig playing Musical-style kids' songs in a mostly acoustic vibe, so the fretless Precision with flats, played with fingers, will come. Early December I have a rehearsal and then short gig with a punk duo who want a rhythm section for the last 5 songs of their Christmas show. That'll mean the souped-up Precision (my avatar) with round wounds, a dirty setting on the Sansamp and a big amp, played with a pick. In between, I'm recording my own project which might use these two, but will mainly be my Cort Jazz, strung with flats and with a foam mute, played with a pick, which sits in the mix without any hassle. Definitely horses for courses here.

Of course, a pub gig almost always has punters in, so fair enough. Here's another horror story. I left a band who are still great friends of mine, and they kindly offered to let me open for one of their regular promoted shows. Their thing is to play second in a line up of three acts, getting in an established band with a following to headline, so they can count the money, sort things out etc before curfew at the hired venue. On the night, I arrived on time for soundcheck, but the headliners were nowhere to be seen. Eventually my old band checked and I did my quick line check (because the doors were opening soon - cf the OP!) The Headliner singer appeared before doors and explained that his bandmates would be joining us shortly before their stage time, as they didn't consider this show to be important enough. They were told they'd get a line check and the SE would fix on the fly. When I and the hosts had played, we waited for the headliners to assemble, then they slowly got their crap together. After about half an hour, they deigned to play a song but were clearly in 'soundcheck' mode, stopping a couple of times to say choice things like 'this guitar sound really isn't good enough'. After some more griping, they explained to the crowd that they needed more time 'for the SE to get our sound right'. Eventually, after some cat calling (mostly from me) they went thought their set, in a half arsed fashion. They brought about ten people and acted like they were the Stones. There are words for this kind of band.

I swapped out my BBOT bridge for a Babincz one on my MIM Precision (my profile pic) about ten years ago due to stability issues (strings were moving in the threaded saddles). To my ears the sustain has improved and it's rock solid - I like the way you can set it up just so, then lock it with an Allen key. I changed the pickup to a Seymour QP shortly after, transforming a decent Precision into an absolute rock beast. Not for every use, but everyone knows it's there when it's on a gig.

I get that entirely, but I've seen too many bands that knew the people were coming in/had come in, didn't give a monkeys (or ackknowledge the people) and still took their time, fannied about and made punters ask the question 'is this the gig?'. I once took a load of people to see a very good funk band (featuring some good friends of mine) who usually did high-end functions but who occasionally put on their own brilliant 'revue' show. I talked them up all the way there and when we got in, they were taking an age to soundcheck, hadn't dressed up and basically treated the whole night like a rehearsal in front of a paying audience. They put in the most half arsed set I've ever seen them do. As you can probably tell, I still haven't quite forgiven them.

Jonesy, The BBC Theatre Live album is well worth tracking down. This is the version of 'Stay' that blows me away. Whole band is super tight but Gail Ann Dorsey is more on the money than the Queen's face. David certainly seems to think so at 2:35.

Complaining on stage is an absolute no-no for me, and I'm never going to be endeared to bands who do it when I go to see a show. I know performers can be driven mad by lazy sound engineers, chatty audiences or inattentive band members, but you can't rescue anything by mouthing off. If you have a crap sound, a finger point up or down, followed by a thumbs up to the SE is favourite and, if you have to, a very polite request early in the set. If it's not happening, take it on the chin. The only thing I think is more unprofessional is soundchecking in front of an audience, but that's for another thread I guess.

James Jameson. His phrasing was exquisite. Try ‘What’s Going On’ (the song) or ‘Bernadette’ by the Four Tops.

Off to see yacht-rock revivalists Silvertwin on a few weeks. I’ll be the one gazing with envy at the singer’s gorgeous white Rickenbacker 4005.

Some Brits may well have copied the sound of the American records they liked. Many, especially Country and Phil Spector productions, favoured the ‘tic tac’ sound played with a pick, which gave the bass definition in the dense but relatively low-fi recordings.

I've been lurking for a little bit in lockdown, so thought I would take the plunge. Been playing bass since I was 14, moving from upright to electric in the school concert band. Since then, I've been in bands, duos, whatever on and off, usually on bass, sometimes playing guitar and singing. I'm a big fan of instruments and arrangements serving the song. My tastes are pretty broad, but when writing I veer towards a classic guitar pop style with a bit of jangle - think Crowded House, later XTC and Fountains of Wayne. I left a rock'n'roll band I'd been playing bass in after about 15 years last year, and since then have been helping people out during lockdown. This has included recordings for a prog/math rock band, a country-rock outfit, a punk duo and a friend's children's album about animals. I'm also going to record an album of my own songs with a friend drumming and me doing the rest. Many of my guitars and basses have been modded, none more so than my main bass. The basses are: 1998 Mexico Precision 'Trigger's Broom', modded with new machine heads, graph tech nut, Seymour Duncan quarter pounder and Babincz full contact bridge. In fact, only the wood and frets are original. Strung with roundwounds. A very loud piano-like bass, built like a Toyota pick-up truck. Cort G series bass, bought for a song (£200?) in early 2000s. Traditional J-style with lightweight Hipshots, block inlay maple board and a walnut veneer top. Strung with flats and a great recording bass. Cut-and-shut fretless P bass, inherited from a friend. Neck is from a defretted 70s Fender, body and guts were useless so I bought a cheap P bass copy and put them together. Did the superglue/polish thing on the board and it gets a decent woody tone - well, good enough for a year's stint in a jazz/blues band. Also strung with flats. Still gets used for recording sessions. Sansamp for recording and live DI in bigger venues. Roland 100 cube for small gigs and monitor for bigger shows, run flat. No FX apart from a Boss tuner. Look forward to meeting you all. I'm a bluff traditionalist as you can see, but even though I'd never touch a 5 string or take a solo, I defend anyone's right to play the way that makes them happy. Snobbery be damned!