scalpy

Duck Dunn. 1 question. How [i]do [/i]you turn goat's piss into rocket fuel?

Good question! C'mon folks, I want to know as well. I've tried a few over the years but haven't played another G&L since Edith arrived. Your answer might help my growing rumblings of GAS!

My Dad showed me keep on running. First one I worked out was Hey Joe. Felt like a god!

Casio should be interested in this for their demo buttons.

Mackie 1402 VLZ, bought second hand in 1994 It has done everything from being a DI box to being the emergency replacement for a kaput SSL at a medium size pro studio. It's missing a fader control, it's scratched, it's dusty but it just keeps on giving!

Apart from Festival coverage and some pitiful attempts on channel 4, Jools is the only live music show on telly. All the others have fallen by the wayside, yet he's managed to make a go of a 1/2 hour live slot on top of the tried and trusted Friday show. As musicians what we should be doing is encouraging TV channels to show more music shows by pumping up Laters viewing figures and making sure our peers do the same. I know the boogie woogie can be tedious and I've never understood the attraction in his drummer's wooden groove, the interviews are stumbling piffle etc but it's live music on the telly for the love of Pete, if we could be on it we would in a flash. Here's my all time favourite performance. [url="http://www.youtube.com/watch?v=sg5wkndGF3E"]http://www.youtube.com/watch?v=sg5wkndGF3E[/url]

+1 to Sex Machine. For starters, he was jamming, so all those little variations are off the top of his 19 year head. As I understand it, it was recorded in Amsterdam after a gig, so knowing Bootsy he may well have had a little more than JB for inspiration. And he'd only had a proper bass for a few months yet tore it up regardless. I've practiced this one over and over, just for the challenge really, and yet I just can't get those notes as short or as light as he does, even if I try improvising my own variations so it won't be stale. Love it, and hate it too!

I MDd this a few years back at the secondary school where I work. There is quite a bit of syncopation, if memory serves, that takes a bit of work, and the scene change music is very music trade show if you know I mean. The MD doesn't get a lot of time to cue for these bits so will probably have to have a script to hand. We had to do it "poised, up beat, play!" Of course it depends on the cast and how reliable they are as well. The 2 numbers that I remember took the most work were Get Your Head in the Game as the cast will expect it to sound like the sequenced version from the film, and it's hard to get the band sounding that clipped regardless of their experience, and Stick to the Status Quo, which is the big dance number to close the first half. There is a lot of dialogue over vamps and maintaining a strict tempo is very tricky, as there is a surprising amount of dynamic changes for what is essentially musical fluff. We managed to do the whole show with pupils for the band (no more than 16 years old), albeit a bit of drum programming here and there to keep it all together! The Disney stuff is always put together by the very best so expect the odd tricky bit! As an aside, Billy Elliot is the hardest show I've had to put on...

These instruments attacked by plonkers with a sander, lighter, screwdriver etc did me a favour actually. I needed a tough guitar that could be abused in one of the toughest environments known to man, the school classroom. I picked up a Fender Baja (I think) tele for £200 that was less than a year old. The kid selling it had burnt off the serial number, scrapped off the edges using sandpaper, nicked it with a screw driver and bent a machine head. Apart from the latter, everything else was inconsequential and one set of Bare Knuckles later it is one of the best instruments I've ever had, and gets loads of compliments from pupils and punters alike on how it plays and sounds. These vandalised instruments are like the boutique Sue Ryder basses of the instrument world, I can highly recommend them!

I play in a ceilidh band, much like the OP anecdote, and we have a collective approach to the line-up, you never know who's going to be the guitarist for the gig. Some guys bash out the chords on the chart, one guy in particular plays whatever he hears in his head bearing no resemblance to the paper, and the joy of it is making it all work. My brother is a guitarist/ songwriter and doesn't know a dot of theory or any chord names at all. He composes by make a shape with his fingers and bashing them onto the strings until he likes the sound of it. My job when we played to together was drag these chords back to something close to a this is the root note everybody type situation. I did this by ear, despite the fact I have a degree in music. It would have been possible to sit down and go this is a G11 over a D pedal but that wouldn't be very rock'n'roll would it? Surely the point of making music is the net result? Some people need a map to take them where they need to go, some people like getting lost and discovering somewhere they didn't know existed. You just need to make sure the people you are traveling with are enjoying the journey as much as you are. Cheesy point over!

One for me. Musically monogamous.

Already commented on her in another thread. Fantastic, and she ever loses her drum throne I'll gladly step in to replace it.

8 years playing bass in a rock'n'roll band. Nothing doing, much to the hilarity of the guitarist/singer and drummer, who suffered from problems on the end of the spectrum. 2 gigs on acoustic guitar at open mic nights and the second one in, met Nice Face 5 years later all is good. Bass= very, very difficult to pull. Maybe it's because we have to put the PA in the van after the gig...

And on the third attempt, God created G&L... I mean Leo.

[quote name='BenTunnicliffe' post='1197064' date='Apr 12 2011, 05:25 PM']Have you checked out this website? [url="http://freebasspart.pv24.pagesperso-orange.fr/Bass_Players.htm"]http://freebasspart.pv24.pagesperso-orange...ass_Players.htm[/url] I can only imagine the amount of time the guy has spent writing them all out. Hope that helps, Ben.[/quote] Thanks for this, got to be in contention for best site ever! My better half isn't going to get that living room painted for a little while now...

This all makes me feel better. "Guitar I can do, bass is more me" seems to be the gist of it. I wholeheartedly echo these sentiments!

I've decided to come clean. I sometimes gig on guitar. I was wondering how many other BCs do this and if they have a preference, and if so why? For me it ranks like this. 1. Bass 2. Acoustic Guitar 3. Electric Guitar Playing Electric is great as long as I don't have to play solos. I can, but for some reason it doesn't sit comfortably with my personality. Acoustic means I can get rid of the plectrum and relax a bit, fingers feel more natural... Bass means the dynamic and feel of the music and feel is mine to control, and I can leave the gig without being recognised! However, given the choice of high paying guitar gig or low paying bass gig I'd dust off the tele asap. Anybody else in this pickle?

Here's another 2p! 2 DB112s (1 with a tweeter) and a markbass head is probably too violent at any volume for some of the stuff I play! I just did a small local theatre company at minimum volume and the floor was still vibrating noticeably. I've let a few pupils use the set-up at work and even with the typical 16 year old approach to drumming and letting the guitarist use a TSL half stack the 12s have no problem. I agree with the above, 1 is Ok but maybe as it's so close to the floor 2 is more than twice the pleasure. Just to really nail my point with an unnecessary anecdote, I blagged a session with Paul McCartney's engineer of over a decade and he was all over them, loved them. Great results as well. 12s= 2'' better!

Enjoy! I haven't used anything else now for over a decade, except yours has two cutaways and mine has one. They are cracking instruments and I hope yours performs as excellently for you as mine does. Sorry I can't fast forward to the weekend for you.

GAS!!!

If I have any say in the matter, next to the hi-hats. I move quite a bit and this means I can twist away happily without fear of cymbals getting toppled. For some reason I feel like I can lock in on the drum groove better this side, there's probably some science in that somewhere.

Aguilar Tonehammer 500? Not quite out yet but 4lbs £600 and in built drive (but not footswitchable.) I'm itching to try one!