chris_b

He was good. He had more licks than you'd imagine and put them together in interesting ways.

I can't decide which is better. You decide. Original . . . . . . . . . . Cover . . . . . . . . . .

There were some fantastic bass players on the circuit, but John McVie was one of the best. With John Mayall and Fleetwood Mac I've seen him live more than any other bassist. He was a master of the "holding it all down with great lines" category. He used to do the occasional solo on Parchment Farm and that's the only time I ever saw him stretch out. Pity a solo never made it onto the Beano album, but the rest of what he played was a master class of understated importance to the song. In John McVie and Mick Fleetwood, FM have one of the best rhythm sections in any style of music.

. . . . . . . . . . that's rather than the SC pairing with the BB2. The SM also creates a great sound paired with an SC.

IMO the SM pairs better with a BB2. I only got to play my new BB2 twice before the lockdown, but the BB2 and SM is an excellent combo.

I've received and paid via bank transfer and Paypal. I guess bank transfer is my favourite but I'll go with the Paypal if the other guy really wants to.

I use 1 or 2 One10's to practise at home. For about 4 years I gigged with 2 SC's, then added an SM for a little more top end.

PS So far I've always used Interparcel, and never had a problem. I recently sent an amp abroad with Interparcel because they were cheaper than Eurosender, even with the discount. Always shop around.

Don't skimp on the packaging. Insure as much as you like but the insurance won't cover the disappointment and hassle of a bass turning up damaged. Use a hard case, not a gig bag. Keep the bass tuned in concert. That maintains the neck in balance with the truss rod. Make sure the bass doesn't move in the case. I then get a bicycle box from the local bike shop. IME they are glad to get rid of them. The Bike box is usually bigger than the bass case so I pack the spaces on all sides with expanded polystyrene. Make sure the case isn't able to move. You can get sheets of expanded polystyrene from DIY stores and they're not expensive. Bikes are bigger than basses so you'll have to trim the box to size and I gaffer tape all joins and edges. I've not had an issue with couriering a bass yet or had to deal with an insurance company. Something I'd rather not have to experience.

I am a huge EC fan but really the man is not half as interesting as the music.

Just change the strings and see what you need to do next. When I replaced the DR Lo-Riders with GHS flats on my Mike Lull PJ5 I didn't have to change anything. And I didn't have to change anything when I replaced the GHS strings with TI flats.

Someone else will have to tell you how the switch works, when I had them I used 2 Two10's on 12 ohms each. I used 1 Two10 on 4 ohms on its own or with a One10 to make a 2.67 ohm 310. The switch is a very versatile addition.

Bass is where a lot of our amplification and gig problems occur. These frequencies are more difficult to amplify, don't always transfer well in to the room and can be difficult for audiences to hear. Low mids along with mids is where you hear the meat and the definition of the bass. IMO that's thud, thump and punch. This is the area where 10's work well. Treble adds attack. Listen to Motown and Stax, this is low mids and mids from flats in action.

I like Billy Sheehan. His advice to do whatever you want but that everything you do must serve the music is the takeaway for me.

IMO like most of Leonard Cohen's songs, they are done better by those covering them.

I'm glad Otis decided to cover this. . . . . . . . . . Vocals start a 1:26 with this. . . . . . . . . . Joe Cocker's cover of With A Little Help From My Friends, the best cover yet, and his cover of Bobby Charles's Jealous Kind. Although he probably got that from Frankie Miller.

I don't think Lee's video does justice to the sound of this record. Listen to the original recording. Lee gets a fantastic bass sound on this song and a perfect, economical and melodic bass line.

I'd say you were fine. I doubt if there is anything other than the look that is wrong with this, and no one except you will notice it.

Many/most people change rounds to get the twang/sizzle back, which doesn't last long so they are changed more regularly. I used to change my DR rounds every year. I'm not a fan of zingy strings, so in the last 9 months the strings life was in the zone for me. After a year I thought they started to deaden too much. I've started using NYXL nickel rounds and they are less zingy and have a nice, controlled bright tone from the off and they last a long time. The current set have been on since Christmas 2018 and they still sound OK. I just haven't done enough gigs to wear them out. I wouldn't describe flats as sounding dull. I buy them (and I guess most others do) for their thump and thud and because their sound works so well with P basses. Their sound can last for many years, even decades, so they don't need to be changed.

GAS list? Three things? Gigs, gigs and more gigs.

I briefly played an Overwater Jazz bass a couple of years ago. It had Bart pu's and an East pre and was one of the best sounding basses I've heard. It weighed over 11lbs and the other Overwater, which I didn't even bother to pick up, was over 12lbs. If I played sitting down I'd already own several of these incredible basses, but I don't so owning one will remain an unfulfilled dream.

My Whirlwind instrument cable cost me a fortune in the early 90's and had a 25 year guarantee. I laughed at the thought of using a cable for that length of time. The Guarantee ran out 5 years ago and I'm still using it! That makes it the cheapest cable I've owned. I coil my cables correctly and never stand on them, even so, the cheaper cables I was using before the Whirlwind didn't last more than a few years at most. So some expensive cables are definitely worth their price. Now Dave's stopped making them, if I needed another cable I'd have a look at Whirlwind.

Me too. I'm a plug and play guy so extreme use of the EQ always means it's not the amp for me. If all parts of the signal chain compliment each other it requires less work to get a consistently better sound throughout different songs, bands, stages and venues.

I took mine to Barefaced and got them to do it. Much easier.