chris_b

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.

I didn't see, "never forget to buy your round."

Exactly this. I've done deps when I didn't know what was coming next and been told by band members, "I was following you"!! Looking like you know what's happening seems to fool more people than you'd expect. After the first lockdown I started rehearsing with 3 others to put on a tribute show. Me and the drummer turned up knowing the songs and arrangements. . . . and had to spend the next 4 rehearsals teaching the other 2 (including the band leader) what they should already know. Why am I still getting involved in these situations?!

My first visit to a Maccari's was to their Wembley shop in the mid 60's. I encountered the older generation of Maccari but their intrusive "hard sell" methods didn't sit well with me back then. I just wanted to look around but got pressure and comments instead. I never went back.

+1 You've got to hit the ground running.

Lift your fingers off the strings, don't drag them.

Might be wind!

Bass is sounding good.

Both for me. I love holding and playing my basses but they are a means to an end, because I love playing with other musicians, more.

The neck on my Sadowsky is just a single piece of maple. It hasn't moved in the 4 years I've been playing it. Then again none of my basses have required any work on the neck since my Fender Precision needed a truss rod tweak in 1970.

For lockdown home playing I’m using my most powerful amp (800 watt Thunderfunk) through a BF One10 and my passive PJ5. This is the best low volume combination I’ve got. Sounds very good at no volume at all.

It’s a good sign when you find an amp that gets the sound you want with very little EQ fiddling.