chris_b

Yeah, I've played Superstition many times but never in Eb. Did get asked to do it in D once. Low D was lovely, made the whole room vibrate!

If you Google "Talking Book Songs" for instance, it brings up a Youtube link to all the songs on Talking Book.

I'd rather be playing a modern bass than one made in the 1950's. Whatever they do to them these days that's different is fine by me.

I believe early versions of Badass bridges required either a shim or rebating into the body, but I've not heard about any others.

You get better at this the more you do it. I periodically run over sets of bands I play with, just to keep up to speed. Also many of the songs are interesting to play. I got a call once at 10 am on a Saturday asking if I could be in Devon by 4! It was a wedding and I'd never played with the band before. They got a lot of busking, but the audience wouldn't have spotted the cracks. My memory is pretty good. If I can hear a melody line then I can get by. I've done gigs with little notice and you just do the best you can. If you are really stuck, just turn the volume down and the bass up so no one can hear the notes!

You're playing Triggers broom.

Change the strings and see what happens. You could be OK, you might need to adjust the bridge saddles but even if it's not perfect, I doubt you'll make the bass unplayable. If you really can't play the bass with rounds, then is the right time to decide if you need a new nut.

. . . . oh, and James Jamerson.

Jacko only needed one.

If no one notices you you're not loud enough.

One of my lockdown projects was Stevie Wonder songs. I've charted most of Music Of My Mind and Talking Book, all of Songs In The Key Of Life and Hotter Than July and some of Innervisions, Fullfillingness and Square Circle. There are some great songs, brilliant arrangements and plenty of riffs that just make you smile. Once you get into SW you discover he has favourite chord sequences which are used pretty regularly. When you spot them it makes working the songs out a little easier.

I owned one bass for the first 25 years I was playing. That wasn't unusual at the time. I still use one bass for 90% of my gigs. It's a good one so I don't see it as limiting my playing at all.

I sold my mk3 5 string Wal for what I thought was a top of the market price. . . . . . but the prices just kept climbing!!!!

Interesting.

I'm missing packing the car, the travel, setting up, the challenge of making an audience like you enough to get them to come back next time, packing up, the travel home and unloading the car. IMO inane and nonsensical rubbish from drunk punters is par for the course and no more than water off a ducks back. I couldn't care less what they are asking for if I'm gigging.

I have no regrets about selling any bass gear. Everything was sold because it was replaced by something better.

In the 90's I bought a 400+ and then added a Mesa 210EV and a Mesa 115EV. I thought the amp was OK but I don't see why it is so revered. I preferred the Ampeg SVT3 PRO that replaced it. The cabs, however, were a cut above the competition. I briefly owned an early Mesa D800, which I liked a lot, but not enough to retire the Aguilar AG700. The WD800 and TT800 look like very interesting amps. With @agedhorse designing the Subway range Mesa's bass amps are reaching new heights.

A great example of how your sound doesn't count for much, even on a record, but what you play and how you play it trumps everything else.

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.