Conan

My originals band are now learning covers - mainly because it gives us access to a much bigger range of gigs. That way we can slip a few originals into a set of mostly covers and increase the ratio of original tunes as we build up a bit of an audience. The problem for original bands (unless you are very young and can play school/youth club discos and the like) is that very few pubs want to book you. Too much of a risk. This is understandable of course, but if you are all in your forties and work full time, it can be hard to devote the necessary time to the marketing side of things. Without that (and even with that!) you need gigs. So the circular problem restarts. We are choosing covers that blend well with the style of our original stuff. We then play them in a way that makes them blend even better, but they are still recognisable as the covers that they are. So far we have integrated versions of: Here comes your man - Pixies Wicked Game - Chris Isaak Hangin' Around - Stranglers Babylon's Burning - Ruts Won't back down and Runnin' down a dream - Tom Petty Rockin' in the free world - Neil Young Suffragette City - Bowie What's so funny about peace, love and understanding - Elvis Costello Others being worked on include Ticket to Ride - Beatles, Horse with no name - America and Substitute - The Who. Some we have tried and they just don't work in our manner, so we dumped them at an early stage - e.g. Bowie's Queen Bitch, Elvis Costello's Oliver's Army. It could be argued that there is no real common thread there, but when we play them in "our" style, they hang together pretty well. It is an enjoyable process, and it saves some of us having to join a covers band in order to get gigs!

[quote name='icastle' timestamp='1394650758' post='2393755'] I don't form attachments to basses, as far as I'm concerned they're tools. Like a tradesman I choose tools appropriate to the job - I'm not going to buy a 50p screwdriver and expect to use it everyday for 5 years, I'll buy something that is appropriate to my needs,...If my usage of that screwdriver goes up, or I need it to perform better because I need it to, then I'll replace it with a more appropriate one.[/quote] Interesting analogy, but I'm not sure it is fully appropriate. The bass equivalent of your 50p screwdriver will be able to "do the job" almost equally as well as a top-of-the-range, custom handmade screwdriver (if such a thing exists - it would be nice to think that it does!). Would a highly skilled joiner or electrician do a better job with an expensive screwdriver? Of course, if it broke that would be a problem, but I guess that anyone who uses cheap tools probably has a few spares... maybe I'm pushing that analogy a little far now? When I think of some of the truly awful basses I played back in the late seventies/early eighties when I was learning, I shudder. You can buy a bass new now for less than £100 that is good enough to gig with! How did that happen? Glad it has though.

[quote name='JapanAxe' timestamp='1394701880' post='2394099'] So go in with an offer of £1750? [/quote] Exactly! there is nothing to stop anyone entering into a haggling contest. Some sellers don't like that though, and accuse speculative buyers of low-balling them. That's fair enough, as obviously the seller wants to get as much as they can for an item and the buyer wants to pay as little as possible. There are some definite bargains around at the moment, and some that are (IMO) very over-priced. The market will decide whether they sell or not, as it always has. One of the upsides to all this austerity (IMO) is that there is more trading going on. I like trades. Often I am trying to sell something because I am bored with it, don't use it enough to justify keeping it, or just fancy a change. If I can trade it for something of (roughly) equivalent value and it gives me the opportunity to try something that I wouldn't otherwise have been able to afford (or had access to) - then I am happy. As, I hope, is the person I have traded with! One other thing that slightly irks me is that some people (mostly noobs) put very little effort into their adverts. IMO, a good, well-worded advert with decent photos can go a long way towards selling your item. Some people make do with stock pictures and a brief comment about how long they have owned something. They then bump it relentlessly every couple of days without ever adding any more info. It is no wonder that some items have been on the market for many months! Make an effort people! I've seen some adverts that have been so well done that they have engendered GAS for something that I previously had no interest in at all!

Looks like an AH150, as I'm pretty sure all the larger models (AH250 and 500) used to have the UV light strip built into the front... GP11 refers to the 11 band graphic on the pre-amp. I assume this also have a power section incorporated? But even if it is just the pre-amp (I can't tell from the small pic) then it is still a good price. Trace watts are not like other manufacturers' watts. They are LOUDER (and heavier...). But also cheaper! Great amps IMO, well worth twice what you are being asked for!

[quote name='jassbass' timestamp='1394446997' post='2391305'] Thanx.so it does make a big difference?i havnt a clue about installing one.but going to give it a go.just cant wait til I have enough cash to get one.do I need the dj retro rather than a j retro?thanx [/quote] They make a MASSIVE difference! I had one in my Marcus Miller J (now traded) and the amount of tonal control offered by the preamp was simply incredible - almost too much unless you use it very carefully and spend time learning to get the best out of it. If you get one and don't fancy installing it yourself, try Howard the Bass Doc. He'll do an excellent job at a very reasonable price! Local too!

I also got some strings from Mr D (a few weeks ago). Great deal. But last week he sent me a beautiful (and brand new!) Yamaha cassette deck on trust. Excellent, friendly and informative communications, and an absolute gent to deal with Highly recommended!

[quote name='bobbytodd' timestamp='1394058986' post='2387601'] in our old band we never used set lists.our singer was always really good at reading the crowd so he used to choose what song was next. [/quote] As mentioned above, this only works if the singer is aware of things like tuning changes, instrument swaps and the like. Otherwise - embarrassing car crash. I know this from experience...

How many are there? I own the Rush Moving Pictures/2112 DVD, and have seen the Tom Petty (Torpedoes), Floyd (WYWH and DSOTM) and Black Sabbath (Paranoid) episodes. Some of the ones mentioned above I haven't seen. But as others have said, they are very well made - educating and entertaining at the same time! Quality TV for a change!

[quote name='Geek99' timestamp='1394033046' post='2387148'] I swapped bridges and didn't notice any difference besides ease of use and adjustment [/quote] Which are perfectly good reasons to change!

[quote name='Dingus' timestamp='1394030078' post='2387102'] Well, my experience is the different bridges do make a certain difference in the sound of a Fender-style bass, and not just to sustain , but more so to overall clarity.[/quote] Interesting! I'm not saying that there is no difference at all, just that under normal circumstances (i.e. while playing with a band at fairly high volume) it is highly unlikely (IME) that anyone would be able to notice any "improvement" to tone or sustain. I have recently owned both a Fender Geddy Lee and a Marcus Miller. Both are fitted with BadAss II bridges. In both cases, they felt and sounded different to other fender J basses - but the differences were much more (IMO) down to the necks, pickups and onboard preamp (in the case of the MM) than any contribution that the bridge may have made. I also think that fretless basses (when compared like-for-like with their fretted versions) have less sustain anyway. YMMV of course. Although that will, to an extent, depend on fretting-hand techniques. If the OP wishes to install a high-mass bridge, then he should go for it. But as part of a quest for improved tone and sustain, I think it will follow the law of diminishing returns.

[quote name='BassTractor' timestamp='1394023739' post='2386995']for me it's about the music.[/quote] I want that on my gravestone!

[quote name='White Cloud' timestamp='1394022750' post='2386980'] I think the fact that we play 2 x 90 minute sets (approx 32 songs) doesn't help. [/quote] This can also be an advantage! Especially if you have a few songs by the same artists. You can separate them farther (unless you choose to do a medley of some description)... I don't do that as I hate medleys with a passion! Try to split the songs to create two good sets, using the various criteria listed above. Allow for the "alcohol effect" though! Punters are often somewhat less discerning in the second set, and may not even notice if you play a track (that went down well in the first set) a second time! I always find it useful to plan a set that [i][b]I[/b][/i] would like to listen to... But sometimes, when you play the sets, some changes may be necessary. you can never tell how they will go!

[quote name='JapanAxe' timestamp='1394015061' post='2386848'] 4:1 minimum ratio fast:slow numbers No more than 2 consecutive numbers in same key Try to spread out covers by any one artist Avoid 2 consecutive songs with same rhythmic feel unless going for a deliberate medley or segue[/quote] Agreed - apart from the ratio one. It totally depends on the band, genre and individual gig slot. Some audiences prefer the slower songs! [quote name='chris_b' timestamp='1394016947' post='2386877'] don't start the night with a slow number. Don't finish the set with an instrumental. If you have a hoard screaming for an encore, make sure you finish with enough time to do 2 numbers, a 3 number encore is even better. The numbers should flow. Keys aren't as important but never have 2 numbers together with the same feel. If you only have 2 slow numbers, don't put them together in the same set. Start the night with your best number. End the night with 4 or 5 numbers leading up to a great last number.[/quote] Great advice! I always find it extremely gratifying when I come off stage and go for a piss (probably more info than you were seeking! ) and hear several punters in the toilets singing/humming/whistling the last song - especially if it is an original tune! [quote name='Paul S' timestamp='1394018376' post='2386895']Yup. Start and finish each set with a bang, bury the weaker tracks in the middle.[/quote] Yes - but I would argue that there shouldn't be any "weak" tracks in a set. Substitute the word "different" and I'd be happy! Another thing to consider - are there any changes of tuning or instrument? This affects not just guitar and bass, but also if the singer plays any harp/harmonica... Singers tend to forget about this kind of thing when they call songs "on the hoof" - but it will result in a train wreck if they don't realise that the guitarist needs to switch from Les Paul to Strat for some numbers, or if (as I have done) the bass player needs to tune the E string down to D or swap for a fretless!! There is a lot to consider in composing a good setlist, but sadly it is a thankless task

[quote name='BetaFunk' timestamp='1393969901' post='2386528'] If i had £350,000 to spend i'd buy an old Dansette and a pile of 45s and still have £349,950 left to spend on far better things than some fancy hi-fi. [/quote] Me too! Bizarrely though, if I were to suggest something similar on a Gus or Fodera thread* (i.e. "I'd buy a Mex P bass and spend the rest on drugs") I would be pilloried as an inverse-snob or told that I was just jealous. [size=1][font=comic sans ms, cursive]*Edit: I do actually realise that Gus and Fodera basses don't [i][b]quite[/b][/i] cost this much...[/font][/size]

[quote name='gary mac' timestamp='1393945368' post='2386099'] I was very impressed with the Gotoh unit that I fitted to a P bass build. Not convinced it actually improves sustain, well not that I could hear but it's well engineered, efficient and easy to adjust.[/quote] Yes. They look great. If looks are a major factor, then go for an after-market upgrade instead of the old BBOT. But for increased sustain..... maybe not!

To be perfectly honest, I've never found that replacing the stock Fender bridge makes much difference to the tone or sustain. There are other more important factors to consider first IMO. That said, some of the Fender high-mass bridges look better than the BadAss, Gotoh, etc equivalents. I'd keep the money or buy a couple of decent sets of strings!

Interesting thread resurrection! Some awesome 80s bands and musicians mentioned in here, really takes me back

[quote name='Roland Rock' timestamp='1393887162' post='2385584'] Why did you buy it if you didn't like the headband?? Return it, or get used to it as is. However, if you really want dayglo and don't care about resale value, it's milliner time. [/quote]

[quote name='Skinner' timestamp='1393807083' post='2384626'] My advice is when you first gig with it just go fretless! you will overcome. [/quote] This thread is nearly a year old! I'm guessing that the first gig stage has been and gone...

[quote name='JazzBassfreak' timestamp='1393851834' post='2384962'] I think it's for me to decide whether I've spent my money wisely.[/quote] Of course it is! So what is this thread all about then?

[quote name='Musicman20' timestamp='1393852493' post='2384981'] Sounds like you aren't happy with it. For that money, you NEED to be 100% on it. [/quote] Exactly. And if the OP[b][i] is [/i][/b]100% on it, what is the point of this thread? Some of the points in here just add weight to the opinion that many bassists have, which is that the [b][i]really[/i][/b] top-end instruments are really not quite worth their price tag. That said, they are intruments - (i.e. tools) that are built with a use in mind. Whether they are fit for that use is again a matter of opinion. To me though, spending as much money on a bass as most people spend on a car, and then not liking the pickups, is rather flawed logic! Do Fodera do any models with a JJ pickup arrangement? If they do, return yours and get one of them!

[quote name='BigRedX' timestamp='1393592953' post='2382318'] As I was the person who complain about potentially receiving a bass with the neck unbolted, let me throw this into the mix: The two times I've had to remove the neck from a bass I've discovered all sorts of extra crap in the neck pocket masquerading as shims. The first time I wasn't expecting it and consequently it all fell out with no indication where in the neck pocket it had come from. Now a good shipper would mark exactly where the shims went in order for you the re-assemble the bass properly, but unfortunately we all know that these aren't always the rule. Also a less than scrupulous seller could disguise a problem bass by removing the neck and then claiming that the buyer must have put it back together wrong. Send the bass fully assembled. Then there's no possibility of argument. [/quote] Ah, OK. I understand your view a little better now. Another classic case of making sure you communicate clearly and openly with the seller I suppose. All my deals on BC have been excellent in that regard, but I can see how it might not always be the case. Fair comment then!

I always thought this track would be pretty straightforward to play... until I played it with a previous covers band! Harder than it sounds - and definitely good for the stamina! It's not [i][b]too[/b][/i] hard to play, but it is hard to play [b]well[/b] (IMO).

[quote name='ambient' timestamp='1393585354' post='2382192'] If it's a bolt on necked bass, and you don't have a case, just a gig bag, then ship it in 2 pieces, just make sure both are wrapped well with bubble wrap and lots of cardboard. [/quote] That would be my choice too - but some people on here have stated that they would not deem this to be suitable! The reason being that they couldn't take the bass out and play it straight away! I'd rather have it arrive in one piece (well, OK - two actually!) and then spend ten minutes re-assembling it!