chris_b

When I put flats on my Precision it sounded fatter and fuller with a more authoritative sound. I thought if they make a P bass sound this good I'll put them on my Jazz. I was disappointed, because flats seemed to take away the dynamics that the rounds gave the Jazz. A note about Joe Osborne and his tone. He asked Fender for a Precision and they sent him a Jazz, so he only ever used the neck pickup.

Why do people keep on with this, "I think it's all crap, so it shouldn't be on TV, crap?" Everyone has different musical tastes so all music is valid. Later doesn't often cater for me but that doesn't mean it's rubbish and should be scrapped! I record it and run through it later with the FFW button at the ready. Sometimes I can check out a show in 20 seconds and other times I'll watch most of the acts. Where are the other live music shows on TV? Pumping out so much negativity is tiresome and unnecessary. Watch the show and you might find the blinkers coming off, if only for one number. There should be more live music on TV, a lot more. I'd suggest Later do some specials, where they focus on a particular type of music, but my hope is that Later outlasts me.

LA first call session player, Neil Stubenhause's comment was, "That's just Greg being Greg". So I guess GP was just having fun. After the "synth taking over" nonsense in the 80's, I don't think anyone will put bass players out of business. The sound of a well played bass guitar is too powerful to ignore.

Some beautiful fretless 5 string bass lines played by Hutch Hutchinson. https://www.youtube.com/watch?v=qT4ndqEnwto

Yeah, over a 45 year period. The first was a forgetful roadie. . . clean forget to pick the singer up! Didn't remember until he got to the gig. The next was traffic on the M25 and the next was illness.

Always carry Gaffer tape. You can't prevent every possible failure or problem. Even if you do the traffic could get you. You have to improvise etc. I saw John Mayall using a combo for a PA when his broke. Tower of Power did several gigs without a bass player when Rocco Prestia was hospitalised on tour in Europe. Our singer didn't show on a gig and the 3 of us took it in turns to sing the songs. We couldn't sing and didn't know most of the words but we got by. I've done gigs when the drummer didn't show and one when the drummer and guitarist didn't make it. We were a bass and a singer strumming an acoustic guitar. We got an encore!

I would play my own signature bass, if Roger Sadowsky was silly enough to make it, but other signature gear doesn't interest me. I'll incorporate better players lines and sounds into my style, but my approach is always to buy the best bass I can find and make it sound like me.

Join a second band.

I have a pair of one10's. I have gigged them but on listening back to the recordings I decided to stay with the 12's. I'm keeping the one10's as a practice rig. They are permanently set up at home and even at very low volume make a fantastic sound.

I am in the same situation. My solution for the stupidly loud bands was to buy a second Super Compact. The modular approach just seems more logical to me.

I've played and sold a BB2 and 2 Two10's. They sounded great but I found out my preference was for Super Compacts. I've even sold one of those and now play through an SC and Super Midget. Put a good sound in and a great sound comes out.

Damn. . . I got tired of waiting for them to come back into fashion, and just cut mine off!!

What about taking up the bugle? Fingers crossed!! I hope your doc can find a solution. Good luck.

The production company is obviously looking for ways to increase the viewing figures, but as always TV exec solutions miss the target by a mile. On a music program, it's the music that wins the viewers, not adding to the faff that surrounds the music.

I've never been in a rehearsal room that did justice to the sound of the band, let alone my sound.

I initially put GHS Precision flats on my P bass, which I thought sounded good. Then I lucked into a set of TI flats for a great price, which IMO sound even better. I have no need to change my strings for the next decade, but if I did I think Labella's look interesting.

I'd only support the side edges. Sometimes these amps are built so that the case forms part of the heat sink and they need an airflow on all sides. If you sit the amp on foam it may not be acting the way it was designed. My 2u Thunderfunk sits in the middle of a 4u rack case and it can get hot underneath.

I have to say that the new format probably means this is the beginning of the end for the show. We, I, don't need Jools chatting to someone who I've never heard of. What is the point of a co-host? It's not interesting, it's irrelevant, pointless and taking up music time, which is what the show should be about.

If you have a "bad gig" because you find you are a square peg in a round hole, be flexible, adapt and turn it into a "good gig". We did our usual blues/funk/soul set at a wedding and the band leader was very annoyed that the "audience" was ignoring us. After I spent 10 mins trying to explain that they were wedding guests not an audience, we played top 40 songs for the second set and went down a storm.

I have never noticed the difference between 34" and 35" scales. I move my hand for every fret up or down so a few mm either way is pretty much unnoticeable. If you are sensitive enough to notice such small measurements then practice should resolve any issues.

The best way to avoid bad gigs is to always play with great drummers. Everything else pales into insignificance.

The Faces Jeff Beck Group Steam Packet

I see you've experiences the M2 after a gig in deepest Kent!

If you are playing at a certain level you might not get away with it, but at my level. . . . it was explained to me by a jazz bassist, "Play a different note every beat. You're either playing the right note, a harmony to it, or a passing note". I have done this on gigs and it works.