arthurhenry

Billy Sheehan did the same thing on his double neck Yamaha for the guitar/bass duet on the Mr. Big reunion tour. Paul Gilbert had 4 E strings as well. Well worth looking up on youtube.

Pretty tough going, especially the second section at the 12th fret and some serious open string action in the last part. Good fun, but don't let the guitarist start it too fast!

Nothing to do with his playing, but I mention it only because I've never seen it commented on before: His huge weight loss of a few years ago was really impressive - I had to check it was the same AJ when I saw pictures. He's gone all fat again now.

My bass only has dents, you can only get dings in America.

Not sure about the current editor, there were about three editorials in a row where he apologised unecessarily to an artist or reader he thought he'd upset in the last issue. New layout is a bit odd. It's annoying when gear reviews mention a particular detail which then isn't pictured. This happens a lot.

Does anyone else keep a detailed log of all the gigs they do? I have a list of every gig I've ever done, just coming up on 800 with date, band, venue, bass used and a record of any documentation - photos, flyers etc. A bit trainspotter I know, but great to look back on.

[quote name='daz' post='787310' date='Mar 26 2010, 07:40 PM']Watch it. a lead foot start could put that Hartke head amp through the back window of that Celica[/quote] I can't be the only one who's done this. Dodgy boot catch on Cavilier estate. 4x10 already loaded, lifted it upright to get screwdriver out of spare tyre well. Fiddled with catch, slammed boot - CRASH. Bucket for glass, two bin bags and a roll of parcel tape and off to the gig.

Ian Anderson's bass playing on Jethro Tull's Stormwatch is well worth a listen. Tull's brilliant bass player John Glascock was in ill health at the time and only played on a couple of tracks. Naturally, the bass is very high in the mix.

Does anyone know of a top notch bass repair man in the Herefordshire (fat chance), Gloucestershire area? Bristol or Cardiff if I have to. I have a couple of lifting frets. Thanks in advance.

Tom Scholz's bass playing on the first two Boston albums is outstanding and unless my ears are very much mistaken it's all played finger style.

When I moved out of London for a very rural location, but within driving distance of 3 major cities, I spent £50 on postage and sent 250 fliers advertising myself to every drummer and guitarist listed in the MU directory within 50 miles of my new home. The result was about six replies, all of which came to nothing. Depressing. Found some good bands eventually, but I would have expected more sucess from this approach.

The programme and whole series were dire. I don't expect them to make a specialist programme of interest only to musos, but I do think they could have made an interesting and informative series, aimed at Joe public which actually explained each instrument's role in a rock band. The "Other ones" show, for example just reinforced stereotypes and general lack of knowledge about bass, when it could have made people think differently about our intrument and what it does without getting too nerdy.

Hilarious! Every word is true.

[quote name='OldGit' post='822310' date='Apr 28 2010, 06:54 PM']Yeah do all that ... but first .. pop in a shim [url="http://basschat.co.uk/index.php?showtopic=49897"]http://basschat.co.uk/index.php?showtopic=49897[/url][/quote] Good point, it's already shimmed.

I have a '73 Tele with a too straight neck. No relief at all and the truss rod has been loose for the last four years that I've owned it. Deadish sounding notes up top and horrible buzzing at first four frets. I propose to support it at the neck heel and top of the neck and hang a weight from it. What should I use? Bag of sugar? 5L tin of paint? From where do I hang it? Around 7th fret? Should I apply heat with a hairdryer? Where and for how long? If it shifts will the repair be permanent and do I just tighten the rod until snug? I should add that this bass is very much a spare and I am not too precious about it. It has a cavity routed out for a second (removed) pickup and has been refinished. I just want to get it playing a bit better. Grateful for any advice. Thanks.

[quote name='andy67' post='816609' date='Apr 23 2010, 07:37 PM']You lucky, lucky people! 26 Apr 2010 13:30 Billy Sheehan Bass Clinic in Brighton, UK Brighton 27 Apr 2010 16:00 Billy Sheehan Bass Clinic in Bristol, UK Bristol 28 Apr 2010 19:00 Billy Sheehan Bass Clinic in London, England! London, London and South East Andy [/quote] Unlucky, unlucky people. Unless you're a student at the music schools he's playing, you can't go!

I was on the Lawrence Canty course, I think it was '93. Good course, but I should have done more homework to get the most out of it! I remember Laurence bringing in an extended scale bass with 2 extra low frets. He passed it around but no one could tell what was different about it!

Billy has announced 3 UK clinics, all at music schools. Guess what? Students only. Grrrrrrr.

I think it was last year when for the first time I can recall, Bass player didn't run an April fool story. I thought they were making up for it with the current issue's cover, but I'm not sure. Is this Dethklok thing real? Then there's a new gear feature on an Ibanez with extra D and G strings on a fretless section of fingerboard. April fool alarm bells ring, but I can't imagine Ibanez wanting to be in on this. Then in the metal feature there's a player who claims to have come up with a 12 tone per whole step microtonal system, but his names not Alrip Folo. Hmmm confusing.

Without youtube comments I would never have known that John Myung is better than Billy Sheehan, Flea is better than John Myung, Victor Wooten is better than Flea, Steve Harris is better than Victor Wooten, Cliff Burton is better than Steve Harris, Geddy Lee is better than Cliff Burton, John Entwistle is better than Geddy Lee, Billy Sheehan is better than John Entwistle and John Myung is better than Billy Sheehan and if you disagree you're gay and you sleep with your mother.

On multiple original band gigs, gear sharing is often encouraged to make life easier for the soundman and to make change overs quicker. This makes sense, as almost always on these gigs, each band will play for only 30 mins or so, almost certainly to an audience of no more than three people. On many occasions I have lugged my 4x10 and other gear down my garden path and into the car, only to arrive at the venue to discover a bass amp has been provided by another band who are happy to share. Then my kit has to be loaded in to the venue anyway, so it doesn't get nicked from the car. Then it has to be loaded back into the car and back into my house. I don't want to come across as an idiot by insisting that I use my own kit, as it's set up for "my sound, man" and given the almost inevitable short set played to three people scenario mentioned above, I'm really not bothered if the sound isn't exactly what I want. I've often turned up with just a bass and if no amp is provided I'll just go direct. This approach saves a hell of a lot of hassle particularly as these gigs are almost always unpaid and you have to finish work at 3.00 to get to the venue for 5.00 to hang around doing nothing until 7.30 when the sound man decides to turn up. Whenever I've turned up without an amp, there's always been one for me to use.

[quote name='yorick' post='754773' date='Feb 23 2010, 10:26 AM']Keep a lock on your case, and a polite NO. Failing that, a swift kick up the behind.[/quote] After that, the lock went on every time.

A lot of us are a bit precious over our instruments, so what's the best way of politely dealing with this unwelcome request, especially if they've just been eating crisps? On one occasion I arrived at rehearsal for a pantomime gig and met the drummer for the first time in the car park, I carried some kit in including my bass in its case and returned to the car, crossing paths with the drummer again. When I went back into the venue, he was sitting there playing my bass! - Unbelievable!

I don't actually see the colours when I play, or use them to understand music, though some might. It's just that the notes have an inherent colour, just like I know my car is blue, I know an E is yellow.

I used to just dig in hard and stick some distortion on the last choruses. There is a particular fill that I used to do where Flea responds to the "Slap in the face" lyric with a sharply popped F# on the D string.