Chris2112

The soundtrack in the video no longer works!

I've never been on a cruise, but I can imagine I would quite enjoy this sort of thing with the right bands. The bands have a good time and enjoy a cruise, you get the benefits of a good cruise holiday as well as seeing the bands performing small shows. Better than paying £90 to see them at a muddy festival or a booming, echoing enormodome!

Always the case. You see a bass that piques your interest, decide to get hold of one and by the time you're ready to buy there are none to be seen!

[quote name='Basschatfield' timestamp='1366146490' post='2049034'] Okay awesome thank you guys. Well i already hang out with a bunch of musicians and i play hundreds of gigs with my bands so i'll just start asking around. [/quote] This is probably the best way forward. It sounds like you know a few people already, so ask around and let them know you're available for session work. All you need is one good session to get you started. Nail a recording in good time, get a pat on the back from whoever is financing the project and keep your fingers crossed that your star rises from there. Make sure you're ready for the session on the day though, as a bad session will do you far more damage than a great session will do you good. Even if you can get some work though, I suspect the days of being a 'proper' session man are over. The likes of Anthony Jackson, who made a living off high end session work, will never be seen again, as there just isn't enough session work these days to sustain that kind of thing. Even less so in the UK. The best session players these days all have alternate revenue streams like online lessons, music college tours etc etc, which should give you a hint as to how the industry is going!

[quote name='BetaFunk' timestamp='1366141556' post='2048953'] I'm sure that when i saw Weather Report in 1982/83 Victor Bailey was playing a plain old Fender Jazz Bass. So there you are, who needs a Victor Bailey signature model anyway? [/quote] Of course he was, but then that was 1982. Signature models weren't exactly all the rage then (though they soon would be). So Fender said to Victor: "hey, we'l make you a cool bass with your name on, and you'll do a few adverts. Are you happy with that?". Did you expect him to say no? Mind you, no Victor Bailey thread would be complete without this awful video: [url="http://www.youtube.com/watch?v=DBSnps-iIzQ"]http://www.youtube.com/watch?v=DBSnps-iIzQ[/url] Such a hokey song. No doubt meant as a heartfelt tribute to a hero of his, but it is dire.

I've always enjoyed the VB Jazz bass. I thought it was the best of the Fender Jazz basses that you could go into a shop and buy fairly recently. It was priced to match, mind you.

Sad news, and a long, long fight indeed. It seems like only yesterday that I was reading news of the crash!

They are great basses. I would love to have owned one, but mostly the realistically priced Stingrays I see come up for sale are online, and they are a bass you really have to play before you buy, on account of the fact that some of them suffer terribly with dead spots and weak D and G strings. Maybe one day!

I've tried the 90' silent jacks, didn't think much of them. I too found they were pretty hit-and-miss, to the extent that I'd switch my amp off before unplugging the bass as you could never be sure when a speaker splitting 'pop' was going to happen!

00:45 - obvious bum note. But I've made bigger gaffes so I can forgive him. The bass tone isn't bad either. Just the ticket in a glassy, open 80's synth mix. BTW, it sounds as though he is playing with a pick rather than slapping, just by listening to some of the articulation on those triplets.

I thought this was going to be a repost of the other article about the loudness wars that makes heavy reference to Vapor Trails. Fantastic album, but a sonic sludgefest!

That shot of the Thumbs together is great. Still not sure about this singlecuts though.

Back when Michael Manring got the looper out at Bass Day '98 and did a rendition of Teen Town with it, it seemed genuinely amazing. That impact has been lessened by the imitators, and yes, the looper does seem to have become the solo bassist's best friend. I lamented years ago that we weren't getting epic, Stuart Hamm style bass solos these days simply because players were falling back on the looper, getting the same lick going over and over, then noodling away for a while to little effect. Such a shame.

I can sing, if I know the song and I can get the words out without thinking about it. I can't talk though. I'm like BB King when I talk and play. One bar of playing, pause to speak and then play again!

[quote name='4 Strings' timestamp='1365156676' post='2035975'] (But, rather like a Volvo driver offering Michael Schumacher a few tips about driving, but can't help suggest to pick up on the triplets the drummer gives to mark the end of your solo!) [/quote] Some Volvo drivers could offer him a few tips...

I doubt I'll ever buy another Streamer. It was a 1990 Ltd Edition model and it was so good it made every other Streamer I've ever played feel a bit ordinary, even Stage II's! I love Streamers but I feel I've owned the best now. Six string basses on my mind include the Yamaha TRBs (neck thru models) and then custom/boutique stuff. I appreciate a good TRB is every bit the equal for a handmade bass though. If I could have any 6 string back, it would be my first generation Status Stealth bass. I was stupid to let it go.

Even if I was gigging the Thumb, I would usually have the luxury of a seat. Though having held Thumb 6'ers before in the past, the weight wouldn't particularly bother me. If find if you wear them high and with a good strap, the balance is neutral and they are a fairly clever piece of ergonomic design. So that isn't an issue. It's mainly one of me wanting a 6 string, but loving the sound of the Thumb too! I think I will keep the Thumb and save up for something else, and then see how I feel when I had both basses.