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Gary Glitter, Norris McWhirter, Deborah Stephenson, Sultan Al Quaboos, Tom Robinson

[quote name='Fat Rich' timestamp='1327416616' post='1510861'] I don't think the YT poster was saying that scales on bass are any different to scales on any other instrument, just that you can play more exotic scales on bass because of the lower register. If you played some of the notes that Jamerson played on Motown, but with a bright zingy tone or on a brighter instrument people would look at you like you made a mistake. On a bass with a nice fat wooly sound it just creates a bit of passing tension without drawing too much attention to what's causing it. [/quote] I read it like this too - and i agree.

Its a nice feeling Trouble is that you have no excuses now

[quote name='Faithless' timestamp='1327180305' post='1507629'] Well, what I'm trying to say, is that I'm wondering why most of big artists stick with programmed/synthetic stuff when making their [i]studio [/i]stuff - CD's, Singles, etc. I know it must be down to money and time (good players are busy, and it's hard to get them together in one place for a record, of course) to a certain extent, but maybe this is something to do with the audience they're selling to - programmed stuff has pretty much taken over the 'studio' music (most of the pop stuff we hear on radio), so maybe listeners are more used to that, rather live-sound based music? best- Laimis [/quote] First off that track is superb. Great tight playing - nothing overdone - just bang on. About artists that use synth in studios though - its not a new thing. If you You Tube Chaka Khan, George Benson and Michael Jackson you will find a load of top selling tracks that all heavily feature synth bass. Then check out live versions and many of them feature great bands with electric bass playing the original synth part (with embellishments). I can't really explain why except maybe the decision makers think it sounds better or perhaps it translates better on radio?

This is something that makes my blood boil So many people advertise as bass teachers who don't play bass. Use the links on here to find a recommended person who can provide testimonials. Good teachers are few and far between. That said, these days there are so many great resources on the interweb for theory and stuff that i can't imagine why you would need to be taught theory by a person at least to an intermediate level. Specific techniques like slap are easier (or should i say you will learn faster) with a real person i would say. Sometimes there is more than one way to skin a cat. Lets take slap as an example. Is there a right way to slap? No. I use my thumb sticking up towards the sky - others have their thumb pointing down to the floor. Neither is wrong but what is more natural for you?

[quote name='dmccombe7' timestamp='1326964018' post='1504238'] .Also agree with[b] democracy stops when the band starts[/b] Dave [/quote] Theres a moustachioed, goose-stepping part of me that loves this phrase

Next rehearsal i'll say i got a great idea from Jimmy Saville - see how that goes down

I like the idea of linking the songs and creating more of a show but can you practice this? What can sometimes happen is that we arrive with a set list but say on the 4th song someone in the band (not me) decides to play another song for a host of reasons. This drives me nuts cos it means that you get 5 people on stage saying "What was that? What are we playing next?". It must look terrible to punters Can you build flexibility into the set and keep it flowing?

[quote name='leftyhook' timestamp='1326902699' post='1503481'] I treat every audience with the respect that I would expect if I was in the audience.After all they are in attendance expecting to be entertained, whether they know the songs they are listening to or not. [/quote] Thats a really great perspective. Its easy to get blasé when you are gigging a lot. [quote name='Chris2112' timestamp='1326903705' post='1503500'] This is crux of the matter with cover tunes; if you want to make them something 'different' you're going to need to dedicate as much time to it as if you were writing your own songs. Take those Dirty Loopz guys. Okay, so their music is awful and sounds as nice as a couple of tramps playing a rusty trombone. But they clearly didn't throw those awful tunes together in five minutes, because as dire as they are they are fairly polished performances. So if you're wanting to do something different, it will take some time and effort to make it credible. Ask yourself though, how good are 'fettled' cover tunes? [/quote] You hit it on the head. Is it worth putting in the effort? Maybe we'd have as much impact if we bought some new lights or stage clothes?

[quote name='dmccombe7' timestamp='1326892516' post='1503278'] We have no intention of jamming a song at a gig and they want everything ironed out at rehearsals before gigging to the point they are hiring a hall to do a full PA & Lighting test. All sounds a bit OTT i know but at the end of the day I'm having a blast at the moment and i guess if we are enjoying it, it will come across live and hopefully the audience (if any ) will pick up on that vibe and enjoy too. Dave [/quote] Like you i don't like jamming a new (cover) song in front of the paying public. Especially if all the other tunes are quite polished. I don't mind in other music projects but not for the covers band.

[quote name='Happy Jack' timestamp='1326890173' post='1503236'] Looking at the punters, and talking to them (I was in the crowd too, after all), it was pretty clear that they weren't actually listening to the band ... they were listening to the original song being replayed in their heads. I've noticed this phenomenon many times before, but last Friday was about the most extreme example I can recall. [/quote] Glad you mentioned that phenomenom. Sometimes i have laughed at some of the songs suggested to cover (from the drummer normally). 15 piece bands with brass and strings etc. To me it seems an insane choice. When we have tried them its like the audience are filling in the blanks - the bits that are missing don't seem to matter. Even parts that you would think are integral to the song. As long as the melody is there most people don't care if there is a clav or synth drum part missing.

[quote name='JTUK' timestamp='1326886907' post='1503167'] Plus...and this is quite galling.. for all our effort, we might take months for that to come to fruition at a new venue..when a week later you go there and see the crowd an awful bog standard fare band has pulled... [/quote] Yep, its a complete bummer when that happens . Of course its all subjective ... [quote name='Lozz196' timestamp='1326887850' post='1503178'] Putting a few songs that lead straight into the next is a good one - people have often remarked to my covers band that they like the way we do that, without the predictable pause between every song whilst a guitar is (audibly) tuned. Another is good one is, if you play a few songs by one band, and they`re all well-known faves, bunch them together. A band I go to see to that, and for me, it really works having three Jam songs played in a row. Other than that, the only real thing is make sure that you have more songs than you need, tailor them to each venue, rotate them, and don`t be afraid to realise mid gig "hold on, x-type songs aren`t working this eve, drop `em, and do all y-types". [/quote] There are a couple of ideas we could try. Thanks. [quote name='musophilr' timestamp='1326887984' post='1503180'] May I say something? Some might have seen me introducing myself in the introductions dept ... A cover bands I played in had a habit of introducing subtle twists into the songs. Different accents in the rhythm dept, slipping in a few bars of something else between a chorus and the next verse, singing the words a bit different, that sort of thing. We never messed around so much that you couldn't tell what the original song was though. Our drummer had a great sense of humour and he was an avid Frank Zappa fan, both of which helped. We took the view that if punters wanted the original they could stay home and listen to the record, but we were there to do some live entertainment. [/quote] It'd be great to do this - as i said in the OP its a question of time and priorities and maybe motivation. Being a busy band its almost like there is an undercurrent of complacency.

[quote name='JTUK' timestamp='1326882029' post='1503078'] The last thing I want to see is the same bands on the circuit do the same songs the same way, ie, stick as close to the record as they can get. I don't want to see the original artist do that..let alone a copy band. All you are then getting is varying degrees of proficiency and then I'm bored pretty quick...yawn..!! [/quote] Exactly. I think this is the worry. As we are trying to be efficient there isn't much time for creativity and the songs are pretty much copies of the original. It'd be nice for punters and us if the songs had a little extra to them.

[quote name='paulconnolly' timestamp='1326830753' post='1502574'] Maybe it's the songs and not the band or the way you play them? [/quote] Could be. The main criteria when we choose a song is that it is well known to lots of people. The thinking is that this might make the band available to a wider audience. Thing is, when/where do you put songs in the set that are less well known?

[quote name='Muzz' timestamp='1326826958' post='1502511'] Generally, a good song is a good song no matter what the genre - we knocked out a decent version of Mamma Mia recently, which went down well. [/quote] Yes, thats a good point. Someone said at a gig recently that the band was very "efficient" It made me think that the songs were predictable.

As the members of the band are all very busy we have less time to put together new tunes. Current method is to all do as much homework as possible and then try to nail as many songs as possible when we get together. Normally these songs evolve during gigs and after 5 or 6 plays become ok. This method works ok but the songs never really develop into anything spectacular - they are polished and crowd pleasing but not very adventurous. Do you have any approaches/methods that can maximise rehearsal time and create inventive cover songs? Should we bother if the audience are happy with what they are already getting?

The Hamer Cruise bass has a skinny neck whichever way you look at it.

I kinda know what you mean. I do experiment with some of the songs even though i have been playing them for a long time. Not to the extent that anyone would really know unless they were looking. Sure, the song is all important and i wouldn't put that in jeopardy but i do like a bit of a fiddle. Most typically if i have learnt some new theory i'll try and apply it to the song that i am playing.

This caught me out too when i first got my fretless and t'was a bugger to get used to.

[quote name='discreet' timestamp='1326487173' post='1498028'] Yep. Don't know what I'd do without those Markbass filters! [/quote] +1 more love for the filters

The irony of course is that you tune for the room when there is nobody there. When you go to play there are (hopefully) a load of soft squidgy bodies in the room.

[quote name='christhammer666' timestamp='1326312074' post='1495398'] hi guys i love playing bass but most theory goes way over my head.4ths 5ths ect leaves my bamboozled. my question is do you really need a vast knowledge of theory to enjoy music my band has a cd out althought not ground breaking i have always just played by ear and play what sounds good to me. I wouldnt know if i was playing bass chords or just playing with myself. i suppose im just insecure in the fact that if i dont know every bit of theory going ill never make it as a decent bass player my 2 favourite bassists are john myung who knows the bass inside out and the other is steve harris who even though is an absolute monster on the bass would admit to not having much knowledge of theory id love to here some of your opinions jamie [/quote] Hi Jamie. I don't believe you need to know any theory to enjoy music. You could argue that acquiring theory makes you more aware of your limitations! All that said, if you want to get better at your instrument and understand what works and why - theory is invaluable.

[quote name='BassBunny' timestamp='1326402027' post='1496877'] My tone is pretty much set in stone, but normally have to tweak the VLF or VPE on my MarkBass Amp to cater for the room acoustics. [/quote] ^ this although i would add that there are a couple of gigs that need me to fiddle with the EQ, knocking a bit of bass off to stop boominess. I know which venues though and am now prepared. I don't think its weird at all.

When theres a massive bum note stare at the keyboard player and shake your head slowly from side to side. On the other hand don't worry as nobodys listening - its only bass