essexbasscat

[quote name='silddx' post='1010488' date='Nov 3 2010, 10:30 AM']If you don't rest it, you won't be much use on those gigs. As said already, NEVER play through the pain, that only applies to muscle building exercise where you want to break the muscle down. You absolutely need to rest it until whatever damage you have done recovers. If it is damage, such as tiny tears to the tendons or ligaments, or inflammation in the soft tissues which are putting pressure on some of the the nerves in your hand (which is what it sounds like), you NEED TO REST AND RECOVER. If you don't the damage will not heal, the inflammation will increase, and you run the risk of it becoming a chronic problem, which you DO NOT WANT. I think you have gone straight back to bass and not built up the supporting muscle strength and may also have bad hand and body posture. I won't go on because Essex is an expert in this field and can help you way beyond what I can. Listen to him and follow his advice. Good luck.[/quote] Cheers Nigel. Thanks for saving me the effort about the rest and recover. +1 to this To the OP - If you're serious about your career or having a good hand to work with for the future, get your GP to refer you to a physio PDQ. T

A bit more info may be helpful. Re the bass; - How long have you been playing ? newbie ? years ? changed style or type of music lately ? changed duration of playing times ? strings ? tuning (goes to string tension), Practice times / environment / duration changed ? new techniques ? re the hand; - Any history of previous problems ? recent injuries ? anything else ? The answers to these questions ( and the others to follow) will help with answers to your opening question Hope all gets better soon T

Neat interview Dan. It's great to see our fellow BC'ers in action and hear their stories, it gives a sense of the person you're chatting to. Look forward to meeting you at the Angia Bash T

Sounds like time well spent. Shame some luthiers don't loom very large outside of their own country. Any chance of some piccys please ?

Keep it unless you need the money to save your life. Simple.

It's coming up a lot less now, but my loathing for Mustang Sally is eternal. I've noticed my head sag forward and down in response to requests for it.

For sheer atmosphere - The Good, the Bad and the Ugly or Alien For truly awesome vocal skill - The little shop of Horrors (I think that's the one, with the giant singing Triffid) Can never miss listening to Little Richard when Predator comes on

Interesting how he kept his hand / finger stucture open by sliding the first finger up a semitone. If he had used the second finger instead, he would have fundmentally altered his hand shape. Anyone else noticed how his amp settings seemed to be weighted towards the lower frequencies ? None of which takes anything away from the fact that he appeares to be a very experienced player. Good video.

This should be interesting

Just a thought. If you do stash a bass away, avoid the loft ! the temperature and humidity goes up, down and every which way, which can turn a nice playing neck into a twisted banana. Investment then = loss

Phoned the Gonville Hotel in central Cambridge this morning. Not suitable for us to use, due to concerns re potential noise levels. The search goes on....

A very nice review Chris, informative and interesting. Wasn't Conan a nice guy to loan it out ?

One white haired, arthritic bass player says to the other; "Do you remember, before we started collecting our pension, there was going to be an Anglia bass bash" ? "Huh" ?

Wish list. A big winning lottery ticket T

[quote name='RAY AGAINST THE MACHINE' post='999294' date='Oct 24 2010, 08:24 PM']Trying to find someone who appreciates Steptoe & son and Hawaii five o could be difficult.[/quote] Learnt those a while ago and still play them when the time's right, including Steptoe and Son or Flash Harry (from St Trinians) when the guitarist is returning to the stage. Also learnt Hole in the Ground by Bernard Cribbins including all the lyrics a short while ago as a stand alone number. Think I'll leave that one off the set list if I ever get to play Wembley (Yeah right !) T

Makes room for you to move on to better things, band partners that inspire your own performance etc T

[quote name='razze06' post='998218' date='Oct 23 2010, 04:32 PM']Ace. My mark III 400 does have an adjustable crossover control (it's knob in the chanel one section), but I never figured out whether nthat's for the biamp output or not.[/quote] I beleive the MK IV has the same arrangement. The owners booklet for the mkIV can be downloaded from Peavey and this explains it nicely. If you have trouble getting it, give me a shout and I'll e- mail you a copy T

Thanks for the heads up Mike As you say, bass days get a poor showing, so makes a nice change ! T

[quote name='Bilbo' post='991079' date='Oct 17 2010, 01:32 PM']I have actually reached the point where I won't work with some people because of these kinds of problems. If a player makes rudimentary mistakes, I will tell them. If they don't 'deal with it', I won't book them again or take a gig that they are on. There are plenty of good players around so I don't need to book those that can't deliver a musical performance. I have done too many bad gigs 'for the money' and my self esteem has been undermined by it so I decided to take affirmative action. Less gigs but better quality music. I win![/quote] Having butted heads with this issue myself, I can fully understand your stance on not going further down the problem path 'just for the money'. There may well come a time when I do this myself, but for now, I'll keep playing and keep the door open. T

By the way, the last page was one of the more interesting reads on the topic of harmonic swamping. The term to describe the issue, at last. T

Doh ! just looked it up and it's the Technics P50 !

[quote name='markstuk' post='990461' date='Oct 16 2010, 06:26 PM']I've always thought it important that you should learn the piano first before diving into the world of keyboards.. For me the importance of touch cannot be overstated - even though keyboards without "proper" actions can be faster under some circumstances.. It also gets quite personal in terms of feel - I like the Yamaha GH3/4 actions (I own two Yamaha GH equipped keyboards - the CLP270 actions is better than the Motifs) - other folk like the high end Roland stuff (and others, although more rarely, the Korg, Nord and Kurzweil (Fatah)) actions.. Of course nothing beats a real grand piano - Steinway has the main name recognition, although again (personal) taste I prefer Bechsteins and then Bluthners to Steinways, certainly for actions.. I do get frustrated when people ask me for advice for "keyboards" - and I strongly suggest a good (not someones old knackered upright) overstrung upright or something like a clavinova and then they go and buy a casio or yamaha noise maker from Argos with the worlds nastiest action.. The kid then makes some noises, finds he can't adapt to the teachers piano, then gives up.. Usually...[/quote] Although slightly off topic, could you please recommend a good keyboard for stage work around £300 - odd region ? I've thought the Roland P50 was a good option, but I'll always listed to experience in these things cheers T