essexbasscat

[quote name='JTUK' post='989828' date='Oct 15 2010, 11:43 PM']oh no..you got me started now.. The song is not working...too many parts fighting for space..so we strip it down and get the bass and drums working... feels good and we let the others at it...train wreck, so we spell it out. Play another part, nice piano chords or something but don't play low notes across my line..and unless you are doing exactly the same which they don't or can't hear it that way...don't even attempt to put your spin on my line... But it keeps creeping back.. And of course, they can't hear it whilst I am pulling my hair out.[/quote] Sounds like we've been in the same band T

Arrangement, arrangement, arrangement. Yet so many samll guitar and keyboard bands seem to resist it. It's almost as though the idea of playing to an arrangement somehow compromises people's freedom of expression. Or is it the freedom to avoid the work of actually playing with other band members, instead of playing to them. T

Yes, less can definately be more. When I discussed this with a keyboard player, they asked "What do I do with my left hand then" ? Seems the concept of allowing a song to breath didn't occur then. Once again, frightened of silence. This definately isn't a problem across the board (!) with piano or keyboard players, but it seems to be happening more recently, enough to notice anyway. T

What never fails to surprise me is the collossal scope for things to not work 'quite right' in band situations. We've all done the loud guitarist to death, buried him and dug him up once more to have another go at him for being TOO BLOODY LOUD. Then there's the drummers that are too loud, or speed up, or slow down through songs. Last night threw up what's becoming a more commen occurance recently. It's the piano player's left hand. From the outside looking in, it seems that a lot of piano players spend time practicing the bass line with the left hand, while doing accompaniment with the right hand. All well and good. However, the last few bods that have played piano in the little ensemble I inhabit can't turn off the bass line on their left hand and turn it to doing appropriate accompaniment to the circumstances i.e. something other than doubling up the bass line when you're in a four or five piece band. Not only is doubling up a waste, it also makes the lower frequencies sound muddy due to two instruments playing very similar lines, but with different emphasese or slightly different rhythms Has anyone else come across this one ? how do you solve it ? nail a piece of MDF across the Western side of the keyboard ? Cheers T

Peanuts and beer time

Heard a while ago that 10cc were initially a team of session musicians that used to back other artists, Neil Sedaka one time amongst others Wonder if Neil Sedaka ever did jazz. Bilbo ? ..... T

[quote name='Jean-Luc Pickguard' post='989521' date='Oct 15 2010, 06:25 PM']Its a bit Frank Zappaish in a way[/quote] Didn't see that until you pointed it out, but yes, I see what you mean. Would the same notion apply to 'Killer Queen' by Queen ? T

They're highly unlikely to be called bland !

I've seen this one up close and personal at the London Bass Bash earlier this year. It's in showroom condition, very impressive indeed. T

Here's something a little unusual by 10cc. It's the single that came out after Rubber Bullets and it sank like the QE2 anchor (but not before I bought a copy). It's a rather brave, quirky composition clearly shows the art of a song in development. Thank God they stopped buffing the song when they did. This was a predecessor to some of the great melodic songs by 10cc, such as 'Life is a Minstrone', Art for Art's Sake', I'm Not in Love, I'm Mandy, Fly me' and a whole lot more I'm going to listen to after I've done this. Just thought - this one's a bit of a polar opposite to some of the current stuff running around. Enjoy the weekend everyone and if you're gigging, hope it's a good'n

[quote name='Slipperydick' post='989059' date='Oct 15 2010, 11:45 AM']I think its most likely down to posture when your playing. Specially if your tall and thin like me (well, tall anyway lol ) Worth seeing somebody medical though, could go on for years otherwise.[/quote] Analysis based on extensive examination of the OP ? T

It'd be cool to nail the tones, fair enough. But a great contribution to your bass parts would be adopting Macca's style and phrasings, in other words, putting the 'McCartney' head on for the evening. Just my 2p T

Surprised this hasn't appeared yet, so I'm going to sort that out now

Noticed the underlying assumption in the OP's idea that the change of bass caused the back problem. It is tempting to grasp the idea that the bass caused the problem, as the back pain appeared soon after the bass change, but consider; - It is possible that the bass was the final straw that just revealed a pre - existing back problem, caused by other issues - If the bass is heavy enough to cause a back problem, how do we account for the absence of a left shoulder problem ? that's just for openers. There may well be more going on than meets the eye here. Get it checked out by a health care professional that knows what they are doing. +1 to a physio Hope you get it sorted out soon and have a pain free bass career ahead T

Maple / Maple Precision with a white scratchplate, my first genuine Fender. Sold it to buy my Goodfellow, the first bass of choice for over 12 years since then. If that Maple / Maple appeared in front of me I'd have it back in a heartbeat. T

Not sure I have a good understanding about the nature of the problem you are describing. Would you be splitting one input signal into; - Several complete amps (a fleet of amps) comprised of pre -amp and amp i.e. as in a handful of combos - several different pre - amps into one power amp - etc, etc If you clarify the question some, it may be easier to offer something. Just my 2p's worth T

The Bee Gees original seems to be the more melodic version of the two, a more considered style of listening music with the more diverse rhythm mechanisms of the two. Backing vocals more complete too. The bass line of the Candi Staton version is very typical of it's era, lots of 'octave pops' and a simpler, bouncier fare all around, catering to the Saturday Night Fever conscienceness of the time. Still don't know who played the bass though. T

Chinese CV Jazz or P. Both punch well above their weight. Keep the change.

It's still an Antoria, even if Noel Redding owned it. Based on my experience of Antoria's, there are generally much better instruments to play out there (unless it's practically given away). Unless you've been looking for a bass owned by the player from Smokie ....... Mind you, according to another thread around here, other people have had good experiences with Antorias. Perhaps I only found the duffers. T

Any progress on this one ?? T

Missus came home early the other day and nearly caught me adjusting a trussrod... luckily I was able to get my glam costume on in time to save any embaressment..... T

Until this thread came along, I've treated the neck shifting on my latest favourite bass like an embaressing personal problem - I just dont' talk about it. I'm coming out of the closet, one of mine is shifting too T

Ooo er missus. What happened there then ? T

Used to be The Ballroom Blitz by The Sweet in another band, but it's anything these days