Delberthot

[quote name='phil_the_bassist' post='360166' date='Dec 21 2008, 12:32 PM']+1 +2 [url="http://www.haywardguitars.com/"]Haywards Guitars[/url] in Winchester is like that, I've got two music shops within 3miles of my house, but I make a point of doin a 45mile round trip here just for a set of bass strings rather than go to my local shops.[/quote] Their website is fantastic. Sounds like they are a good bunch of guys. Many moons ago, There was a guy called Paul who used to work in the original Guitar Store in Glasgow, not the new one. They used to have all the rare and strange stuff of the day. He was a proper session guy and really helpful ( including giving me ex Hue & Cry bass player James Finnegan's telephone number so I could get some lessons when I was 15 ). He later went to Sound Control and was sorely missed when he left. That was when i realised how bad the shop actually was. I had a budget of £2000 at the time and Sound Control had a lot of really good basses. A whole wall of Warwicks, Spectors and Fenders but none of them were playable. The actions were so low that even open strings buzzed against the frets. When I asked the guy if he could adgust the action so that i could have the chance of playing it properly he told me that if I wanted to buy it [b]then[/b] he would adjust it for me. Bye. I ended up going to Guitar Guitar and I think I bought a Rick

Nah, bootsy to me is more a leg end than a good player. I listened to the clips back there and there wasn't really anything outstanding there. Now that Gospel bloke was amazing. He didn't play anything difficult, it was just the way he played it. I didn't realise that Gospel was so huge in the US until I registered with Talkbs.there's loads of players over there doing Christian stuff.

Totally. I may not get anything from his playing but I am open to other people getting satisfaction and possibly a semi from listening to him. I like listening to Dusty Hill. Never going to be in the top 10 of techincal bass players but he's great to listen to/

Most of the songs we do with the wedding band, the bass line is sh*t. We are a very punchy band. eg the monkeys' Daydream Believer' is pretty lame but we do a different version of it. In fact it was about 4 years after we started playing it that I heard it for the first time and couldn't believe how bad it was. Unless its something where the bass line is integral to the song like "Billy Jean" then I play it the way I believe it should be played

[quote name='tauzero' post='358917' date='Dec 19 2008, 04:00 PM']Used to do "Fireball XL5" with one band (which was actually a white soul originals band, it was just one of those things that happens sometimes), have suggested we do it with the current one.[/quote] Many moons ago we played a wedding at Gleneagles Hotel - bottle of Becks was £3.75 at a time when everywhere else was selling it for less than £2. Anyway this well to do guy gets up and asks to sing a song. He sounded really professional and we were wondering what it was that he was going to sing. It was Fireball XL5. I play in a wedding/function band so we play a wide variety of music but there are a couple of songs that you'd expect from a pub band but not a wedding band. they are: The Fratellis - Chelsea Dagger The Jam - Town Called Malice Kings of Leon - Sex on Fire We have been known to play the odd Glen Miller medley where the average age of the audience is over 70. Very handy since I played in a big band for a few years

Didn't Conway Twitty appear on a few episodes of Family Guy? Not as a cartoon but actual film of him singing? back to the music - My signature in Talkbs is "I would like to get through one thread without mention of Jaco" I personally have never got the facination with him. I cannot see anything that strikes me as being outstanding. The thing he does with recording a bit live and then playing over the top of it as Michael Manring now does - isn't that what Les Paul invented in the 50s as sound-on-sound? I've always hated the sound he got. When I play a fretless I don't get a sound anything like that and I'm glad. I got involved in a fair few arguments on talkbs with people who couldn't get their heads round someone not liking the almighty Jaco. According to a lot of people there everyone has been influenced by him whether directly of by another player that you like. I proposed that this was, or course, bollokcs. I'm happy if people get a kick out of what he did and I tried to get into his playing but he just doesn't do anything for me.

Pardon? There's a thread already devoted to this here [url="http://basschat.co.uk/index.php?showtopic=533"]http://basschat.co.uk/index.php?showtopic=533[/url] I personally cannot handle even going out to a club without wearing my earplugs these days

didn't sell despite the number of people watching

Until I saw the 'original' colour under the control plate I would've said that the bass was new with a set of old tuners on it. It seems to be in too good condition - isn't it the general concensus here that if something looks this good after so long then its a POS and bad to play on? I don't know anyone that looks after their gear more than I do but even a bass owned by me for so long would have at least one or 2 marks on it. But it was the last year before the 3 bolt neck and bullet truss rod if that means anything to the value of it. Unless I was very wealthy I would have to try something this expensive before parting with the reddies. Once it was in the UK you might find it difficult to sell on if it doesn't suit you due to the smaller bass playing population here especially with so many of us lefties who play righty. I don't like Jazz basses and never have but just say for arguments sake it was a '56 Precision or a '68 Telecaster which are the kind of basses I would go for if I had the cash, I would have to really think carefully about a bass that old in the condition it is in. Have you checked to see if there is there anyone on Talkbs that lives close to the seller who could check it out for you?

I've used Peavey cabs in the past and they are really good. I had a 4x10" from just before they changed the logo. I've just found this and its an absolute steal at this price [url="http://cgi.ebay.co.uk/PEAVEY-4x10-700-WATT-BASS-cab-DEAL_W0QQitemZ380083525280QQihZ025QQcategoryZ58719QQssPageNameZWDVWQQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/PEAVEY-4x10-700-WATT...1QQcmdZViewItem[/url] Pair that with the GK 700RB II and you're all set at £5 over your £500 budget

I had an Ashdown setup with an ABM500 RC EVO II something or other head and it sounded wooly and indistinct at best. I also managed to blow one of the drivers while using one of the cabs as a monitor at relatively low volume. I love Gallien Krueger. I am now on my second one. I had an 800RB and sold it in a fit of stupidity. Bought the Ashdown then a Hartke HA5500 but neither were a patch on the GK so I went out and bought a 700RB II and I absolutely love it. They are very punchy, easy to operate amps and are tough as nails. They can do clean but have a fantastic valve emulation circuit in them that doesn't overdrive but gives a lovely warm growl. If you want an amazing amp then this is it: [url="http://basschat.co.uk/index.php?showtopic=33801"]http://basschat.co.uk/index.php?showtopic=33801[/url] I'm only selling it as I've found somewhere that has the new digital GK head in stock and want to get it before it goes. I also transport the lights and the power amps so am trying to go as small and light as I can otherwise the amp would be staying with me Doesn't leave a lot left over for a cab but you won't need anything any other amp. I regularly use this with my Schroeder 1212L as a monitor and also to provide my out front sound and it has never let me down. I've never come close to making it clip. I would say something like a trace 4x10" or even the Hartke mentioned previously would do the job and you should be able to get amp and cab within your budget

I forgot to say that if anyone here is interested in this I can end the auction anytime cos you will get it cheaper buying it direct and I won't get stung with charges, so let me know.

Sounds like a bargain. If you need a lift through let me know. All I need is petrol money, a strong coffee and a shot of your Dingwall

You fool. Its clearly a Fender Jazz [b]Base[/b] If that's real Fender I'll eat me Christmas tree

I haven't experienced a trace compressor as my TE stuff was all 7-band but I have this forsale [url="http://basschat.co.uk/index.php?showtopic=31351"]http://basschat.co.uk/index.php?showtopic=31351[/url] It can be as unnoticable or in your face as you need it to be. I used this for ages but prefer the natural sound of my own syle with my Warmoth. didn't realise it was there most of the time unless I wanted to squash everything

I began playing when I was 11. That was 22 years ago. I didn't know [i][b]any[/b][/i] of the notes on the fretboard until I was about 17. I found out about major and minor scales when i was 15 and I still got mixed up between major and minor until recently when I actually bothered to find out what was what. I bluffed my way through 3 years in a big band and a dixieland jazz band with minimal knowledge of reading when I was 17 (remember I didn't know where the notes were, until this point when I had to know them). I learned from listening to records: as I got better the stuff I played got more complicated. My first song was 'Another One Bites the Dust' by Queen. By the time I was 15 I really wanted to be able to have the stamina to play 'sussudio' by Phil Collins but it took me another couple of years before I could. I now find it pretty straight forward. The songs I now listen to to keep the stamina up are: 'Phantom of the Opera' by Iron Maiden and 'Parallel Universe' by the Chilis (After I had mastered it I found out Flea used a plectrum and there's me using me fingers) In the first couple of years of learning its also a matter of tuning your ear to hear the bass in a song. Sometimes its not very clear but once you get the hang of it it makes following it easier. It all depends on what you want to do. If you want to join a band, have a laugh and play some stuff that you all like then maybe just trying to play along to as much music as you can might suit you better. If you want to be able to adapt to different situations, maybe see yourself doing session work or any other situation where you may have to read, then it might be better to look for a good teacher. I teach now. If I had a teacher when I was younger then I may have become a better player. I consider myself to be a very good player, I used to be reserved about my abilities but if you want the gig you need to tell it how you see it. In my wedding band I may have to play a song that I either haven't played before or haven't even heard of. In this situation you have no sheet music so you have to be able to work out what will come next. If you get lessons you'll learn about scales, modes and how to read music. You'll also learn different styles of music, muting strings, slapping, using a plectrum & improvising. You'll also learn how to set up your bass properly which is one of the best things you can do. I played away until I was 15 on a P bass copy with rusty strings, the frets had been pulled out and the body had been very roughly sanded down. It was amazing the difference a good set up made (& new strings). I'm assuming you'll learn all this. Its what I teach. When looking for a teacher, ask if they follow any kind of learning plan or teach according to what you want to learn. Sure, its good finding out how to play what your favourite bass player does but I find the best way to teach is follow a plan but add in something that interests the student such as learning a favourite song in between. I have played gigs with basses that cost me £20 but the difference was the set up. In fact this time last year while i was waiting for my gold Warmoth to come I used one that cost me that amount. I had already sold my '51 reissue precision so it was all I had. If anyone tells you that they have learned everything then they're either lying or stupid. You never stop learning, there's always something new just around the corner. I don't practice at all now out of pure laziness. I remember being 15 years old and reading an issue of Guitarist and the bass player being interviewed stated that they played maybe a couple of hours a week. At that time I thought how horrible it must be to only do that as i was playing in the house every free minute I had. I thought that if you loved something like this you would want to play it all the time. I still love playing and always will, I just don't feel the need now to practice at home. I've developed my own style of playing now so there isn't really anything else I want to learn. The main thing to remember is that this is something you do because you enjoy it. When you stop enjoying it, put your bass down and then come back later. I have resisted the urge to become a pro because it ceases to be a hobby and becomes your job and more serious and a way to pay the bills than something you do purely for fun. I have had the priveledge to play with some fantastic musicians over the years and look forward to every gig. I'm starting to ramble now but hopefully you have the gist.