scalpy

I had one of the "legendary" Jazz basses I believe, a Silver Series, that when I joined on this forum were going for nearly £400. I'd sold it before that for a 100 quid because repeated experiences demonstrated that it wasn't up to spec, especially when I started hiring Stingrays and G&Ls for the studio. So it came as some surprise when I tried out a student's Affinity P bass and it was brilliant and way way better than an 80s Fender bass that I once had. I suppose my point is that even with budget marques a received wisdom exists and potential purchasers should make their own mind up. An affinity will be coming my way as a spare soon hopefully. Followed by a Dingwall super p 5...

Root/ Octave is a secret amongst this sect of musicians known as bassists. Please stop publishing one of our few weapons that others cannot replicate with the same degree of slinkiness.

One bass rig, one bass. Never thought I needed bigger cabs until a gig last Friday, where the 112s didn't touch the sides. I admit to coveting DB412 rather badly now.

So Muse have inherited the poisoned chalice that is the honour of representing the host country's musical talent. http://www.youtube.com/watch?v=Jt__jKWoYH8 I'm not overly delighted by it but fair play to them for giving it both barrels. Knowing how much they divide basschatters into two camps it should be interesting to see how this pans out! Ladies and Gentleman, your thoughts please!

In the for sale section old American XL 410s crop up for about £100. If you can get one they are stunning cabs, back in the day loads of name players used them, and I've even seen one in Flea's recording rig! I used to run mine with a 140W Hartke head (5 knobs and the truth) and there will never be a day that runs out of juice, my markbass head isn't much louder through it, my students thrash it to an inch of it's life, and have done for ten years and it holds up no problems. It's a workout carrying it up the stairs but they are a fantastic introduction to the class above 100W combos.

Survey done, even if though I do am-dram only! Darling.

It was our first gig yesterday, and surprise surprise it was meant to be on a trailer with one plug for the lot of us (8 piece soul band). We had to be a bit stern but they moved us into the marquee they had and the generator running that place had enough juice to run the whole village. The rain actually did us a favour and everybody crammed into the tent for the start of our set, then the vicar decided that would be an opportune moment to do the raffle. Which took 40 minutes. Then the Lord of the Manor managed to take the plum out of his mouth long enough to announce the results of all the various categories of welly wanging, egg and spoon races and guess the sweets in the jar. To cap it all off there was a prize of a rare tree sapling bred by a Chelsea gold medallist. This was won by Ol' lordies son. A healthy dose of nepotism and keeping the riches in the family seemed strangely fitting, then we got to play, an hour late!

Not sure how the actives really work in mine but it's run FLAT OUT!

Stick it on full!

Lots of playing not much music. More cerebral than soulful. Nice Aguliar rig.

[quote name='flyfisher' timestamp='1337586906' post='1662203'] You could also try some open mic nights, maybe just turning up to watch and gauge the level of talent first. [/quote] Do this! I didn't meet any musicians I wanted to play with but I'm engaged now to the first person I spoke to!

I've been playing for 25 years now, have played on some really nice studios with some really nice players and music is my livelihood. I went to a guitar masterclass with Muriel Anderson, who plays with Tommy Emmanuel amongst others, and after 1 minute she described me as an intermediate guitarist!

I had a Soul Band rehearsal this afternoon, and just 5 minutes before leaving the house, clicked here and saw the news. It totally choked me up, and I've had to stand in band playing some of the best lines of all time with a big lump in my throat. Duck wasn't the best player to ever pick up a bass but by heck he was one of the best musicians and I'll be dammed how he came up with some of those parts. I'm off to listen to Wilson Pickett's 99 and one Half as my send off to someone who changed my life. Thanks Duck for everything.

Nobody on here has mentioned Bonham's sound if I recall. It's awesome, and done with four mics. I've heard that 38 were required on Peart's kit when recorded at AIR Monserrat. Less is more correct again.

F***ing Cannons!

[quote name='neepheid' timestamp='1334170792' post='1612064'] No there are Hardcore Max bass amps - the reference ends in a B for bass like my HCM30B - my first amp I would guess that the amp the OP is referring to is like this one: [url="http://basschat.co.uk/topic/82614-laney-hcm120b-amp-l125-on-hold/"]http://basschat.co.u...p-l125-on-hold/[/url] [/quote] Guilty as charged!

I love new strings, but I don't have much call for them playing in a soul band and doing pit work. I'd change them more often but it's not my forte and it's expensive too. But I've got a nice little busy spell for me, culminating in a good session on Saturday, so whacked on some rotosounds for a rehearsal last night thinking it would be in the venue for the show where my rig is set-up. Then I found out that the rehearsal was in a different place entirely but there was an amp so not to worry. So there I am waiting in anticipation to hear those solid tones and bright clear tops that a new set of wires affords, when I'm asked to plug into a 120W Laney Hardcore. Now, one of the pleasures of being a G&L player is that you can use anything and get a decent sound, I've used everything from giant Trace Rigs to tiny 4 channel mixers and still get a sound but for the first time ever I was defeated. And on New Strings Day, the first one in months! Ribs should have been rattling, chords singing, ghost notes thumping and all I can get is complete farty garbage. Anybody out there thinking of getting one of these waste of wood and wire amps should think again. Moan over, sorry about that.

I ended up on bass via the tried and trusted route of being a brass player first (McCartney, Entwistle, Flea, ahem, me) then trying guitar then realising that no bands in my area had a bassist and it would be straight-through to fame and fortune if I started the four string wonder.

[quote name='Doddy' timestamp='1333631258' post='1604549'] The way I look at it is that rehearsals are for rehearsing and the pub/club afterwards is for drinking. Of course,I'm sure for many people the social aspect of being in a band is one of the most important things (maybe the most important?),but for me rehearsals are for working on new material and drinking doesn't help.Likewise at gigs-I'm assuming that most of the people here don't need a drink before going to work/school/whatever....same thing. [/quote] Bang on. Drives me nuts and does the whole profession a disservice. Ever tried to get car insurance as a musician? They'll bleed you dry as history attests to hyped-up chemically enhanced musos crashing at 3 in the morning coming back from gigs.

It's a fantastic resource having so much information available about the physics and what should work and what should not. There is the fun factor though as well. Technically the cabs I'm using now are much better than my old Hartke 410 but at times I really miss just being young, immature and bashing out basslines without worrying about dispersion or off-axis frequency response. That cab was more fun. If you play well and the band's good the music'll do the work. Get the cab that puts the biggest grin on your face.

I know this thread has gone cold but I was chatting to our Spanish Spanish teacher yesterday and as a confused Aguilar owner checked with her how to say it and her summation was Ah-gee-lar. That's what I'll be sticking with. Or aggies.