JTUK

I assume you have ploughed thru this [url="http://basschat.co.uk/topic/159447-ebs-reidmar/"]http://basschat.co.uk/topic/159447-ebs-reidmar/[/url] My gut feeling would be to stick with the EBS matchup.. but ideally I'd like to hear both set-ups.

[quote name='gjones' timestamp='1345726119' post='1780897'] As far a being a bass player is concerned, you're only as good as your drummer. If you have a crap drummer you'll sound pretty crap as well (and so will the band). But if your drummer sounds good, so will you. I'm off to Ireland in a couple of weeks to play some festivals with the crappiest drummer on the planet (our singer took pity on him and asked him along without consulting me). I am not looking forward to it! [/quote] No, no and thrice NO. What a ridiculous situation... I think I would have been on the phone telling the singer he NEEDS to undo this mess asap..!!

[quote name='ken_white' timestamp='1345835761' post='1782324'] The trouble i got with my drummer is he's my brother and i can't kick him out. He has trouble keeping time, And it throws everyone out, and to top it off he has a massive ego and will argue with any help or constructive critism! He just plays the same roles out of time! we're only a covers band, but i spend hours practicing and trying to get things perfect, and feel quite deflated when i play with him. Any suggestions?? I'd love to play with a brilliant drummer!! [/quote] No suggestions if he wont help himself... not that I'd be that patient to wait anyway. And since he will not help the situation, then you have the one option.. New band.

If it isn't working, then it isn't working, The worst bands are the ones that stick togther out of habit and comfort. If the band isn't moving forward in some small way, it is time for that band to cease...but then it is also a business to some so ...??? I think bands have a finite life but not many recognise this..or want to.

I find if people like your playing they ask you if you give lessons..or local music shops ask you. I think the going rate is typically £30 an hour but it depends how structured your lessons will be and what you will be teaching.I am not sure you could expect to charge beginners that. You could always book a lesson with someone and see what they do and see if you can improve on that....

[size=5][sub]Good but look after him and know that anyone any good is likely to be in-demand and looking for a variety of work.[/sub][/size] [size=5][sub]You might want him to introduce you to a relaible dep type as well...[/sub][/size] [size=5][sub]If the guy is good he will not take long to get up to speed and be sought-after[/sub][/size]

Skiing holiday wins over a combo... but the best combo is the MB 102, IMO. I would put the SWR Redhead at SH prices alongside it. Old school weight tho but, IMO, set the standard for the current batch of combo's if you get the old one. For less money, you might want to be aware of GK combo's as they might do a job, If money was tight, I'd go the Reidmar route with CL112 cabs..and add when I could afford to.

[quote name='chris_b' timestamp='1345624410' post='1779494'] IMO the best cab would be the MB Standard 102HF. I've heard several players with this rig and they all got a great, fat, punchy tone. Also I think you can get a better tone out of MB's larger 210 cab. [/quote] Since you are a fan of this set up .. And I agree it us a very good combo, I would add that cab. Can't say I totally go for MB cabs but I agree to stick to the same maker for extensions

Quick reply.... You don't ask, you get asked.

If you get asked to play in lots of units, you will know the tunes and will basically just have to check the key and you are off. That is why you have to be able to transpose in an instant. If you can hear intervals it makes the job even easier. You never need to be in a rehearsed unit ever again if you don't want to be.

If people can hear it, I am very bothered... If I can hear it, the same applies.

Think we are talking about fretboard clank or slap rather than the slap technique...

Get used to transposing... it is a good skill to have and you can write it out in the new key should you need to... Makes you a more useful all rounded player who can drop into other less comfortable enviroments as a musician... Check out how difficult this skill is for these better players you are playing with..and if you can cut it, you might get new openings...which will be worth not taking the shortcuts there might be..

Not convinced by class D so far or NEO come to that....maybe it is a hunch theory or whatever, but I've not been inclined to buy one and I am looking for another amp right now. 20-40lbs is fine by me for an amp.

Most bands can't play a slow song which is the reason why they stay away from them. If you are going to pick one..make sure you do it well

I listened to such a lot and I trained my ears.... I never felt the need to rip anyone off but I nicked so many little bits from anything I liked. My real education was when I picked up a jazz gig as I had decent solo chops...enough to get the gig, and the keyboard player could play anything in all manner of styles...and I learnt all about his left hand in 'jazz'...haha , ie horn keys. I could keep up my end from a playing POV but they were more educated than me so I learnt to hear intervals and every song had a chart of sorts. It wasn't so hard to fill in the blanks and eventually write up your own pad... The piano and the band leader were my teachers as were the masses of horn players that passed through. I didn't think I needed to know about bass but I did need to bone up on music...

I think you are spending too much time on ripping lines rather than getting to grips with makes the technique work... so just should forget the riff and just jam over drum patterns. That video is, IIRC, very stuck in an 80's slap mode based around triplets so you want to get a few other possibly more modern references... Ignore his riffs and compile your own.... and altho you can play the lines ..you need to jam around it to build up chops. Try getting away from that triplet bias.. and trawl wider for 'influences' Slap, pat, pull can be quite dated... Check out Caron and Dickens for example... not so much for the chops, which are distinctly marmite...but the imagination they have added to the trad slap and hammer groove. Then go back and take apart Larry G... to name just a few .. he is just so funky.. The idea is to sound ike none of them but nick from all...and then jam it all together to get your 'thing' going... If there is a local teacher who stands out..and who is modern, then maybe they can introduce you to a few new names and directions with the technique Have to say..that altho that video was decent enough at the time...the whole thing has moved on... If you have a great groove you can make it work still..and it must be nigh on 30 yrs old...but if you haven't..then you will want to update the style..

If you have lucked into something you really like, then congrats..... lots of people spends ages messing around with stuff and still aren't satisfied.

[quote name='bassman344' timestamp='1345325476' post='1776394'] Does the bass sound of some slap and modern metal hide the fact that some people can't play a bass at all ? Think of the Geddy Lees, Phil Lynotts, Steve Harris sounding metal bassists in 70s and 80s who played clear crisp riffs that inspired. Then hear the modern drop D grunge and slap. Have some adopted aggression and a percussive sound to mask the fact they can't play at all ? Or am I just cynical.... [/quote] Personal pet hate.... I hate the clank sound..and have spent so much time trying to get rid of it. I think very few basssists can really make it work within their technique...but I think they go with it to make things simpler. If you have very heavy hands..both LH and RH, it might be nigh-on impossible to eliminate anyway...or it would be a major and total rethink which they don't choose to do. I think it is around now as it has always been hard to clean up..either technically by the player, or not helped at all by the sounds that the player grew to play with. You can bury it within a mix, upto a point, but when the bass is stripped down, it will exposed and it depends whether you like that or can live with it. ..or totally embrace it. Generally...... I file it under poor technique, but that is just my take on it

[quote name='Mr. Foxen' timestamp='1345392509' post='1776998'] The point of this thread is people who's sound is clangy to cover inadequacies. I'm suggesting the inadequacy is the cabinets of choice, or copying the tone thereof. [/quote] yep, agree to get to the topic.

[quote name='neepheid' timestamp='1345453212' post='1777556'] I haven't the first clue how to slap, and I haven't got much more in the way of motivation to learn, so what does that statement say about me? Should I give up now? [/quote] No idea if you should give up as I haven't heard you play but many people can fashion a few riffs of slap bass and use it as their little party trick. It is just syncopation and that can be pretty easy to get quickly for some. If you have no inclination towards it, I doubt you'll be any good at it as you need to dig deep to not sound cliqued....but by the same token, people may well spend so much time of their practice regime to apply it for a few minutes. You are right to stay away from it as it is very easy to sound cheesy and hard to sound remotely original thinking, IMO Personally, a fill should be limited to 2 bars absolute maximum, IMO... unless you intend to build the whole song around the riff, but............. err...see above..

Good luck.

You wouldn't use one without the valve amp..just no point, but then you wouldn't use one on a litle stage either...so you are always getting the tone from the P.A.... but the engr is not going to be oblivious on this type of gig to what the bass player has spend hours and hours and a fortune getting to. Quite prepared to accept that the Ampeg fridge is more than a tad of iconic status but I disagree that it is a poor monitor. If the SVT rig does your sound..and all you have to do is plug in, then you are sorted. You may have more in the side fills should you decide your SVT rig is lacking on any given stage/hall. Not for nothing is it a large gig reference. If you aren't talking big stages, then all bets are off.

Not suggesting 12 is flat but it should be pretty centred for all intents and purposes for your amp..in that you have a semblance of cut or boost... or more importantly, more or less of anything.