scalpy

My set up is reasonably similar to the OP and have to agree it's a bit fiddly to get the sound spot on. All the posts about the amp EQ are pertinent but as a G&L player I would recommend playing through as many rigs/desks with various EQs etc as possible to get an idea of what your instrument is capable of. The G&L tone can be a bit hard to pin down so you need an idea of how what you're listening to breaks down into you/instrument/amp/cab. Despite the myriad of options using a G&L pre-amp I've found that I only used to use 3 with my old rig, and 2 with this one. However, since getting these sounds about right my playing commitments have quadrupled (seriously!)- I hope you have the same luck!!

I have grade 5 piano but I don't feel like I'm a piano player. I have grade 8 trumpet and a degree bas(s)ed upon that fact, but I never actually felt like a trumpet player. I can play the guitar well enough to be asked to be in bands and do sessions by other people but I don't consider myself a guitarist. What resonates with me, the instrument that I identify with and the musical role I fulfil, is the bass. You're a bass player when you feel like one, when you identify with the job you're doing and the difference you make in that musical situation.

They mess with my amp settings. And my drummer's memory.

The 12s have only run out of juice once for me, at a big (by my standards) 1000+ venue. I know Higgie says the 212s have a lot more bottom, and if I was running a DB750 those would be the ones I'd go for. In tweed, of course.

Actors fell in to the trap of practising their art for free for all the reasons above and slowly and surely the possibilities of them getting paid have all but disappeared. No community theatre I play for earns a penny for selling thousands of tickets. Teachers were encouraged to lay on extra-curricular activities for free and they fell for it, believing it was "vocational". Now, posts for performing arts or sports demand you provide those opportunities for the same wage as another classroom teacher. If you think you're doing a professional job, get paid for it. If you don't, you erode the opportunity to get paid for everyone else.

Using a G&L highlights this problem all the time. I used to have a great option with my old rig, effectively one of three that with all variables listed above with my technique, that is useless with my current set-up, but the other two are much, much better. Compromise I suppose is the only option, and if there was a perfect solution, there wouldn't be so many fabulous manufacturers about, each offering something different!

The Worcester link has expired on here. The ASAT is overdue a set-up by 10 years or so. A Herefordshire/Worcestershire/Gloucestershire recommendation would be excellent.

Something's going to have to happen, railroad other BC merchandise maybe?

Normally we're intelligent enough to be the only ones in the band able to set up the PA.

My pleasure. Had almost given up hope! Ilove the way he puts as much into the bass playing in the clip as she does the singing.

The lip buzzing thing is very important, and at uni we all spent a lot time stood in front of the mirror looking very stupid perfecting it. However, just recently, I saw a video by Allen Vizutti, advocating [i]not [/i]buzzing. His rationale, especially for a beginner, is that it's actually the air stream that is most important. Therefore, learning to breathe and blow correctly, coupled with the mouthpiece on the lips in a relaxed fashion allows the lips to vibrate naturally without tension being created by the pinching of the corners of your mouth, like when you buzz without the mouthpiece. As I posted earlier, long notes are great at helping develop this, especially if you can do them at low volume, whilst still putting lots of air into the instrument. What is paramount is that you don't screw the mouthpiece on to your face, and you use as little pressure as possible when going further up the register. My old practise technique was to buzz on the mouthpiece along to the radio or whatever, but only holding the very end of the shank with the lightest possible grip possible. (So many jokes, so little time!) If you try this and you find your fingers coming back to your face, your using too much pressure!

Duck Dunn or Tommy Cogbill. But bigger!

When you do start, don't rush it. 6 months doing long notes and lip slurs/ flexibility will accelerate your progress much quicker than leaping into playing pieces, even if they aren't massively exciting. Just depends on how seriously you take it really.

A club of 1 then!

You know how some music quietly slips off your radar even though it cuts you to the quick? My dad introduced me to Janis Joplin's music in the late 90s and Kosmic Blues just blew my mind. Aside from having one of the finest guitar solos ever committed to tape, courtesy of Mike Bloomfield, the way Janis caresses one verse and tears apart the chorus and the band have innate sense of light and shade just drew me in every time, with another layer to appreciate on each rewind of the cassette. Other fads have and come and gone and since being a member here I've tried to catch up on a lot great musicians I've missed, then it struck me, no-one's mentioned Brad Campbell! This guy is fantastic! He's straight of the 60s mould, P-bass, syncopated soul a la Dunn and Hood and (holding) company, but he's unbelievably good at it. There's precious little about him anywhere on the net, but somebody here must be a fan as well. Naturally a clip is in order. http://www.youtube.com/watch?v=7gsqBEPSrd0

[quote name='BigBeatNut' timestamp='1348100010' post='1809444'] I'm not necessarily averse to odd time signatures, just pieces of music where after 2 minutes I still can't figure out where the one is. (and neither can my feet) I like this for instance ... and it has an undeniable groove. [media]http://www.youtube.com/watch?v=OrsNOSewwAM[/media] Is that 7/4 ? Is definitely a 7 beat groove and I [b]can [/b]tap my feet to it. [/quote] 7. And a 12 Bar!

[quote name='Lord Sausage' timestamp='1347913612' post='1806663'] Now this ain't Funk but it's certainly groove. A big filthy blues rock groove. With one of the filthiest slide gtr noises ever. Gotta love the filth! [media]http://youtu.be/72rWAe0pUdQ[/media] [/quote] Quite agree, but you might get shot down in flames by the jazz funk fascistas!

Keep it in the case as much as possible! Then stand behind the drummer for the gig!

Post some clips! These were my dream amp for a long time but having used two on sessions I couldn't get them to work for me. Apparently they are a bit hit and miss but if you've got a good one we need to hear it.

[quote name='lettsguitars' timestamp='1344775726' post='1768963'] I must say. That kind of overprotective attitude towards your gear would make me fume. I bet he thinks your a right so and so. [/quote] Over protective I may be but my gear helps me supplement my income substantially, so I'm very cautious about how I use it. Mortgage and impending marriage means I'm having to supplement my income a lot as well! Thank you to everyone else for the advice- baritone guitar through bass amp will be experimented with at next rehearsal.

When turning up to rehearsal on Friday I heard the guitarist making some noises right in my sonic territory! It transpires he had got his hands on a Danelectro Baritone Guitar strung right down to bottom E. He wanted to have a go at putting through my amp, which I must admit I wasn't happy about and declined. I've always been cautious about running any other source through my bass amps. Is there any technical reason for me to be touchy about guitars or drum machines etc being put through bass cabinets in particular? I'm guessing it wouldn't damage a amp to run other frequencies through it it's the speakers I worry about. There will probably be technical reasons why it wouldn't sound fantastic it's the potential for ripped cones etc that causes the concern. The sticky point on Friday was that the guitarist has let me rag his Les Paul through his all original 58 Tweed Bassman, something it wasn't originally designed for either!

The DFA pedal. Wonder what that stands for!

The real gear is great if you're in the room with it, and I've ahem ready for the name drop, used the B15 that was used for Money for Nothing amongst other things, but music is not the equipment. After all, how many Strats did Jimi play? Whether that amp is Jamerson's is another matter, and whether it has played a significant part in Motown's back catalogue is very questionable, as I understand it by the time James was in LA the booze was catching up with him and he was rarely at sessions anyway. The real question is- when's the Funk Machine going to turn up?

Live music is a performance. Performance isn't just playing music. It's a multi-sensory experience, for the performer as well as the audience. Hoppus is right- give it some.