chris_b

From the Lakland website. . . . https://www.lakland.com/about-lakland/frequently-asked-questions/

Trouble is, most of the other songs suggested are pretty light on Funk.

No one's mentioned any Sly and the Family Stone (Thank You, Sing A Simple Song) or Larry Graham (Feel The Need). What about some Boz Scaggs (Lowdown)?

I saw an interview with Lee Sklar and he just plays the songs until he remembers them, which is basically what I do. If I haven't time I just chart out the songs and play them from that.

I can understand your frustration. Our jam night works on a first come basis. Many years ago, couple of the better players tried turning up late, so they could get the "top spot" and finish the show, but on busy nights they didn't get to play, which taught them a lesson. We have a trumpet player who regularly turns up. She hasn't learnt a new note in 3 years, she's terrible, but she is called up every time she turns up. That's a jam night.

Know your patterns. Most songs follow one pattern or another; 12 bars, 16 bars, Pachelbel, middle 8's often go to the 4, sequences of 1, 4, 5 and 2,5,1 and circles of 4ths are very common. Recognise which pattern the song is using and you can anticipate where it is going.

The tone is Freddie, the bass is a Precision with Bartolini pickups and a badass bridge.

. . . . and don't hit the strings so hard.

In the right context the accordion can sound good. Garth Hudson of The Band regularly played one. . . .

Markbass beats Barefaced for size, weight and volume? Really??

You might have an amp and cab problem. I've played a PJ5 with flats for 12 years, these days with TI flats and a lump of foam, and never had an issue with cutting through. I usually have the P pickup on full the J can be 80% on or completely off, depending on the room, and the tone control usually between 60-80%. I'm using Aguilar amps and Barefaced cabs so the sound always projects well.

I don't know their cabs, but I owned an LM2, which I loved, and an F1, which I didn't love, but all the players I've heard using Mark Bass rigs have sounded pretty good. IMO if you want the cab to end all cabs I'd still be considering Barefaced. An SC or BB3 would perform to a much higher level than an MB 115. The hassle and extra expense would be worth it.

This. Finally, great designers are providing the bass community with fantastic options. Excellent sounding gear at every price point. It's a great time to be a bass player.

Fleetwood Mac got by without Peter Green, Queen did well without Freddie and Slade did well without Noddy. ELO didn't miss Roy Wood. Nor Genesis, Peter Gabriel. A few years ago, I saw the Straits, actually the Dire Straits band with a Knopfler replacement. They were very good and filled the Albert Hall. No one is indispensable. If the band want to gig and can put on a good show then, good on 'em.

I can see your problem. When looking at the bass from the front, you could move the strap button to the underside of the top horn. Maybe 1 or 2" beyond the tip of the horn. That might help with the neck dive. Just found this photo.. . . .

Do you mean the strap button? Why is it "in the back of the body?" Can you move the button to the side of the body?

An A/B switching box with volume controls?

Need??? I use 2 112 cabs because I can.

Tribute bands come in 3 flavours; 1) full authenticity and a theatrical experience, like the Abba, Fleetwood Mac and Beatles tributes, dressing in period correct clothes, wigs, gear, mannerisms and accents, 2) a bunch of guys playing the songs with the original arrangements, maybe using the authentic gear, 3) another bunch of guys just playing the songs and that's it. They can be good or bad, but they all have their place and audiences.

Use the pad button or low input socket on your amp.

That's Phil Collins ruled out then!!

I don't stream. There are very few people these days writing songs that I would listen to more than once. I don't do musical wallpaper. If I want to listen to something specific I'll use YouTube.

My Thunderfunk TF750A. Although it's SS rather than D class, it has a warm, clean, punchy, huge sound, with volume for days.

Why do people expect their basses to be damaged on gigs? My Mike Lull (replacement value £4500) has been on most of my gigs for the last 12 years and it's still in the same condition as when I bought it. It goes in the bag whenever I'm not playing it.