gjones

My band whack originals and covers in the set. We get as good response from the originals as we do the covers. I used to be precious about not doing covers, but after I learned a few challenging ones, I realised that they can stretch you and make you a better musician. Unfortunately I no longer get that warm sense of superiority, I used to have, when I could say to people ' Oh......we don't do covers'.

I played through one of these at the weekend and was very impressed with the sound and volume it put out. The band was playing rock, and consisted of a keyboard player, a guitarist going through a 50 watt, Marshall valve combo and a loudish drummer. I got up and played a few songs during the break, with my country band and the amp sounded nice close up and really full and deep out front (with the master only half way up) I even got a compliment from another musician, in the audience, on the sound of the bass. The amp wasn't on the floor, it was sitting on a wide, window ledge at about hip height. So there wasn't any coupling effect with the floor to enhance the bass frequencies but I could feel the bass through the soles of my shoes. I've also played through the original Promethean P5110 and I actually preferred the sound of the P3110. Looking at some of the comments previously, there doesn't seem to be a lot of love for this combo. But now, after hearing it in action, I'm seriously thinking about buying one. Oh and by the way, the owner traveled to his gig by bus. That's how portable it is.

If you have the bass and treble boost on together, it will have the effect of sounding like you've turned all you mid frequencies down low. A good sound for slapping but not for much else.

I had the previous version, which was the BC 2x12. I liked the sound of the cab and it was very light but if your band is very loud, like mine was at the time, you'll probably need two.

Keep you doped with religion and sex and TVAnd you think you're so clever and classless and freeBut you're still f*****g peasants as far as I can seeA working class hero is something to beA working class hero is something to be

Police Cat

Yes she's great. She was on the dole when I knew her and was busking on the streets of Edinburgh. She played with her band Redlight stylus. This is them doing their thing back in 2001.

Hype. I used to go see KT Tunstall when she lived in Edinburgh. I could see she had great talent but I was watching her playing in coffee bars, with her looper peda,l for 50 quid a gig. Then one day there's a cancellation on Jools Holland's show and she suddenly gets exposure to a UK wide audience. The next thing you know her album is a No 3 in the UK charts and it goes multi platinum around the world. Talent is not enough, it needs exposure. There's plenty of people out there who are as talented as KT Tunstall but they'll never make it big without a bit of hype. Just to jog your memories.....

I was once offered a 'Truckers Luv It' by Boz Burrell, from Bad Company. I declined.

I wonder why he plays with his thumb, damping the strings with his palm, all the time? It can be a good technique for certain types of basslines but can be limiting. He used to play with a pick.

Find another band. I can see the writing on the wall.

There is a bond between good drummers and bass players. If the drummer is crap, it's the bass player who suffers the most pain , I feel. The drummer, in my main band, plays with two other bands as well. He's been known to play 5 gigs in a weekend. He's popular for a reason. I love you Ritchie

Should not speed up or slow down. Play what the song needs and don't over complicate things. Play crisp and tight (too many drummers are sloppy). If they play a fill, they should play it like they mean it. And it should complement the song, not distract from the song. Listen to the bassline. Bass drum should sync up with the bass guitar not compete with it. They should be open to others opinions and not take offence when suggestions are made on how to improve the beat. Play dynamically. Be able to play quietly as well as they play loudly (they should be able to play with brushes?).

Players of double basses and fretless electrics play a lot of open strings, as it keeps your intonation correct when you're playing an unfretted neck.

Because of globalisation, eventually, wages will be equalised throughout the world. It's redistribution of wealth but not how Karl Marx envisioned it.

I like Deep Purple but I think they need to pack it in now. Gillan will do himself a mischief, trying for those high notes, one day.

16/15

But the good news is he does actually play guitar.

It's funny to think, that the head of Fender Guitars is a Scotsman, called Andy Mooney, from Whitburn, in West Lothian. http://www.latimes.com/business/la-fi-himi-mooney-20161030-story.html It's in safe hands

I do recommend the sweepable mid control on the standard J Retro - it brings great clarity to the sound of a Jazz. I wonder if John East has a version with a tone and a mid control? Or would that be taking things too far?

My Jazz without a J retro is unthinkable to me now. I like the idea of that tone control.

Excellent! Remember to keep that bass nice and low