chris_b

I don't go to gigs where I'm going to be disappointed, so I've never left half way through. Sadly, I've played a few gigs where the audience did that!!

DJ's never did respect the music. It was a necessary evil which always got in the way of their stunning and clever performance!!

Plywood is fine for making a bass, as are many other materials. Cost, looks and tone are all valid reasons to use specific materials. My take on this. Unless you are in the business of listening for tone in materials you're not going to be very good at identifying the small differences. Unlike tea, coffee, perfume, whiskey blenders and some makers of musical instruments our senses will not be developed enough to be able to comment whether this material or that material makes a difference or not. We don't know what we don't know. We can say what our preferences are, but I just don't get why people think they know all the answers and reasons, when they clearly don't.

I took my Ampeg SVT3 PRO in for a service. The tech took one look and said, "I've never had one of these in." He pointed to about 20 SVT's on the floor at the other side of the workshop. "Those are what I usually work on!"

I went to see The Crusaders at the Festival Hall and found they were supporting the Chick Corea Elektric Band. The drummer had bough the tickets and hadn't told anyone about the line up. It was a great gig.

IME if you're going with a DI you need proper monitoring, for everyone on the stage. I did a gig where we used a dep drummer, with an electric kit. What he didn't bring was any monitoring, so I spent the night with the drums being a faint sound in the distance, out of the PA and a drumless back line. It was one of the most miserable gigs I've done.

My back up is always the last thing that was my go-to. I wouldn't buy something specifically to sit there as a backup.

I've had 2 amps fail on me. Both were valve amps. I've not had any issues in the last 20 years, after moving to SS and D class. I never used to carry a backup anything. I didn't know anyone who did. We never had enough money for two of anything, and especially when my amp weighed in at over 40lbs. I can bring two now my amps are cheap as chips and weigh less than 6lbs. These days I sometimes bring extra cabs so I can try out different rigs. Something that was impossible when each cab weighed close to 100lbs.

I couldn't see it listed, but this bass appears to have an 18v preamp. The mid control is the passive tone control. I'd get used to playing this bass as is before you start planning to alter it. Evaluate what you've got, then decide if you need to make any changes.

Are we talking about B&Q style plywood or multiple layers of wood?

Me too. I've been thrashing YouTube with many (previously unknown to me) names provided in this thread.

If you don't have clarity on the B string then you need a better bass, better set up or better strings. One of the three.

Pete Townsend was playing with his synth at home and came up with something he wanted to put into a song. While recording Layla Jim Gordon was at the piano playing some chords and a great idea was had. They tacked this tune onto the end of the song. I reckon it might have worked better if the slide guitarists weren't so stoned.

We Can Work It Out, The Beatles. What's Love Got To Do With It, Tine Turner. That's what you get when songwriters collaborate and bring parts of already written songs together. IMO it usually works pretty well.

I have a 35" 5 string P bass with 18mm spacing at the bridge and a neck at the nut which is 50mm/2". It is very easy to play and no stretching is involved, even to reach C on the B string. My 34" J bass is the same at the nut and 19mm at the bridge. I can't even feel these small differences. I'd suggest if you buy a 5 string with the same string spacing as your 4 string, you'll be fine. It's a bass not a maths course. If it sounds good enough, learn to live with the rest of the bass. It will be worth it.

Unfortunately that is a very common approach. If you did that you wouldn't be getting the best out of your 5 string bass.

That was a lunchtime treat when I worked in Covent Garden.

I think Roger Sadowsky underestimated what was required to make a licencing deal perform to his very high standards. I would hope he's spitting fire at Warwick right now. My next Sadowsky, if that even happens, will be another Yoshi Metro.

I stood in the corner laughing while the sales guy was telling a couple that there were only 2 112 cabs made. Unsurprisingly, these were the 2 that the shop had in stock!! Having said that, I bought my Mesa Boogie RR115 EV from the Bass Cellar. They had very little to do with it. I went in, told them I was going to play it and then said I'll have it. I got no crap from any of them because I didn't give them the opportunity.

Yep. We signed up to play with musicians and a lot of them, at many levels, are exactly like this. If these situations get us down the only thing we can do is get better and make sure we move in circles with access to better players. Everything is a playing opportunity and I use these sessions as a workout for me. I've mostly played with good drummers so IME it's the guitarists, keys and singers who need the guide dogs. I can play all day with a good drummer.

I put one. In the early days I also taught myself to play a few tunes on guitar, piano and drums, but haven't played them for many, many years so I decided not to include those.

It's a long list, including Levon Helm, Zigaboo Modeliste, Jim Keltner, Steve Gadd, Ginger Baker, Jeffrey Jellybean Alexander, Al Jackson, Nikki Glaspie, Mick Fleetwood, Richie Hayward, Stanton Moore and Howard Lee Grimes. Fabulous drummers I did get to play with, Micky Waller, Glen LeFleur, Henry Spinetti, Graham Walker and for 2 songs, Kenny Jones.