gjones

[quote name='dave_bass5' timestamp='1482246002' post='3198817'] I didnt realise it was the Stone when i first heard it, i though someone had just recorded an open mic night at a local blues club for 2 hours and then just put gaps in it. Its like one of those jive bunny albums where there is a common beat going all the way through only this time its just the same 3 chords. To me it just looks like the men who dont need any more money have found an even easier way of making more without making any effort. [/quote] The old gits are having fun. Leave em alone. But I can definitely see where you're coming from.

I was listening to it tonight. Mick's been getting harmonica lessons from Bob Dylan.

[quote name='Callumjord' timestamp='1482783598' post='3202746'] The two things I would say I have learnt the most this year is to follow the kick and when not to play. These are probably the two things I wish I learnt a lot earlier. [/quote] Those are two very useful things to learn. Of course you can also ask the drummer to follow you with his kick drum too.

[quote name='Jazzneck' timestamp='1482255088' post='3198968'] That is what I REALLY think and what I REALLY do. .....and today is that one time per month. [/quote] See you.....um....in a months time I suppose

I like Ashdowns. My first Ashdown was a EB150 combo, which I liked the sound of so much I then bought an ABM 500 head, which I liked the sound of so much I then bought a MiBass 550. I still have the MiBass but my main head is now a GK 500. I bought the GK because it is VERY, VERY loud. The ABM and the MiBass can't compete with the decibels the GK puts out but I still like the Ashdown sound.

Drummer playing sixteenths with one hand. He's good.

[quote name='stingrayPete1977' timestamp='1481974176' post='3196669'] It is fine as a musician, we can hear the count, why are the audience drifting so far in and out of time with it? watch it again and TRY not to listen to the bass part but watch it as a audience member. [/quote] I think the 'out of time thing' is just because the singers are a long way from the bass and drums. Having played in a large hall like that one, I know that people singing 50ft away from a drumkit, will always be behind the beat

It's a fotoflame bass. Fender Japan created the wood effect with a photo of wood grain under the poly finish.

The bass is boost only on a J retro (the treble and mid are boost and cut). Turn it all the way anti-clockwise to turn the bass boost off. I tend to use the bass control sparingly. My preferred tone is to turn the low mid up full (bottom control on the mid boost turned all the way anti-clockwise) and the mid volume level up full. This gives me a clear, punchy and articulate sound, with a good bottom end. Frankly you can get any sound you want from a a Jazz and a J retro. You just need to experiment a bit.

I left the body of my first proper bass at my old flat (I bought the bass 32 years ago). It sounded good but the body was mahogany, a weird orange sunburst and weighed a ton. I took the neck and all the hardwear/pickups but I had no love for the body. I'm a heartless bastard... [attachment=234148:bass.jpg]

If you've been sacked as the bass player I wouldn't go offering your services as a producer for the bands music. Make a clean break of it. If they do come begging you to produce songs in the future, make sure it's on a professional basis and you charge for your services.

John Entwistle used a technique where he taps/slaps tap the strings hard with his first two fingers. I've used it myself and with a clean sound It gives a very similar sound to slapping. He gives an example of it in the video below. http://youtu.be/ASJxApEz_YA

[quote name='Al Heeley' timestamp='1481664463' post='3194203'] sounds like a really good purchase there, what was the spec for the barefaced cab? [/quote] It's a 1st generation barefaced compact.

I've bought and sold a lot of amps, combos and cabs over the last 5/6 years. Ashdown, Fender, TC electronic, Hartke. I now have my favourite combination for max power and min weight. Which is a GK MB500 and a Barefaced compact. The MB is very, very loud and punchy and the Barefaced can take every bit of power it gives out. All the other amp cab combinations ended up maxed out to keep up with a loud drummer. I don't know what the max is with this combination, because I've never been there. The MB 500 fits snugly in my gig bag pocket and the Barefaced cab is a one finger lift. Both were bought on Basschat secondhand and cost me about £700 in total.

I didn't play for a couple of years and when I got back into playing regularly, used these to get my hand strength back up to the required level. [attachment=233796:grips.jpg]

Keep locked in with the bass drum.

I wonder if there's a guy, on a guitarists forum somewhere, moaning about the bass player playing too quietly? Probably not.

Join a wedding band. Bar bands get paid crap money. Edit: of course it depends on where you live. I played a gig in Camden recently (in a bar/restaurant) and our 4 piece were paid £500. Unfortunately I usually gig in Edinburgh, where my band is lucky if we get paid half of that.

Spare pair of underpants.

I've had MIJ 62 reissues and Japanese Squiers. The truss rod adjuster on the 62 reissue, is at the body end of the neck. On the Squiers it's at the headstock end. Serial numbers should be on the heel of the neck if it's a MIJ Jazz.. The Squiers have the serial number under the logo as your bass does. Both Squiers and MIJ reissues have the grounding strap going from the bridge to the rear pickup. Both the Squiers and reissues are great basses . The main difference between the two is the selling price. A 90's Japanese Squier would usually go for about £250. A MIJ 60's reissue would go for about £450.

Another one with Al Brown playing on it. This is a great one to play along with to get up to speed with your swang thang. http://youtu.be/e_VfEiLQMG0

Get this album and play along with it. If you can play everything on this album 'with feeling' you be able to play 'The Blues' and then some. I've been playing Blues for over 25 years, with some great bands but it was only when I listened to this album that I really got it. Notice how behind the beat the rhythm section is on this track. That's Willie 'Big Eyes' Smith doing his thing. It gives it a real dragging feel, which is a distinct feature of Chicago Blues. There's plenty of Blues bands in Scotland. I recommend Blues 'N' Trouble, The Nimmo Brothers, King King, The Jensen Interceptors and any band with Al Brown playing in it (Glasgow based guitarist) Muddy Waters 'Deep Down in Florida', from Hard Again. [media]http://youtu.be/dzLB4xAY10Y[/media] Al Brown [media]http://youtu.be/LIRUsYR2Ius[/media]

If you want a bit more volume,GK MB500 amps are very loud. I used to have a TC 450 classic and didn't like it much (no low mid). I play both Jazz and P through my GK and they both sound great.

[quote name='MacDaddy' timestamp='1478993494' post='3173251'] Why is being a Screw a dead end job? I think you are being a bit disingenuous there. [/quote] It won't get him laid.

A great songwriter can make the simplest, off the shelf, chord structure, into a great song.