chris_b

Fabulous playing from everyone. Thanks for posting.

I've just found out George Hawins Jr died. He was a fantastic bass player. Started in California and was with Kenny Loggins in the early days. He'd moved to Nashville when I first heard him, playing with Delbert McClinton on the Live album. I got goose-bumps again. . just listen to this shuffle!! https://www.youtube.com/watch?v=jDLGIPw3chE https://www.youtube.com/watch?v=U8SSdyflGN4

A know a couple of these guys, but most I've not heard about. https://www.knowyourbassplayer.com

Sorry. I'm not expert on this stuff. So far all my problems have been dealt with by getting a lighter bass and, when flaring up, sitting on a bar stool.

See your Doctor. If he advises it see a Physio. Start a system of light exercises to strengthen your upper body. Get a longer strap and hold the bass in a more up right position, so your arm is less extended. But everything follows from the results of your visit to the Doc.

I gave up trying to turn bass playing into a living and I was only after tens of thousands of pounds. That was tough enough, but if Scott can turn his bass playing into an enterprise worth millions of pounds then he gets all the respect from me.

I borrowed a clip on tuner and found that, on a noisy stage in a noisy club, it picked up too many vibrations from the room and couldn't identify the bass notes clearly enough. I don't know if that is common situation with all of them.

It's a multi million pound business and he needs someone with business acumen to run and grow his company. The ad seems to be talking to that person. Sensible move if you ask me.

It's not a lesson. It's a chat, demonstration of techniques and a question and answer evening.

I've tried to polish truds too. It never works! But you're right, give the guy a sound that needs a phd in sound management and he's not being paid enough to bother.

IMO the way to get the best FOH sound is to start with a good sound, one that the sound guy can easily deal with. After that, fingers crossed, you have an engineer that knows and cares. I don't do multi band gigs so when I have FOH the sound guy has time to get it right for us. I don't use any pedals, give the sound man post-EQ and 8 in the bar ZZ Top pumping bass on G or C for about 6 bars. So far that's kept them happy.

Wallace amps were great. I didn't see many in use and never saw one for sale but they were certainly loved by their owners.

I use 2 Barefaced One10's when I play at home. I use one of my regular 800 watt amps, Aguilar or Thunderfunk. I get a good sound with good gear even at very low volumes. My next door neighbour sits in the room next to where I am and hasn't mentioned bass playing yet.

This. One finger per fret is not the best thing to do if you are playing below the 7th fret. 1-2-4 is the easiest, simplest and most effective fingering down where the frets are wider apart. Show me a video of a good player using OFPF. They just don't do it. . . . because stretching is not a good thing. It is uncomfortable, slows you down and is unnecessary. Here is the great Chuck Rainey and Rocco Prestia. Watch how they frets the notes. https://www.youtube.com/watch?v=7TAFWwqeHko https://www.youtube.com/watch?v=puY2_cRLMbQ

If you just want to play at home and not upset the neighbours, why don't you use a headphone amp. Plug your bass, headphones and music source into the amp and there you have silent playing.

That Rob Allen Deep 5 sound glorious, in both videos.

"Collective wisdom". . . that's just a posh phrase for a "personal preference" decided by a committee and to an outsider the result would be as relevant as any other comparison video. I don't know the player in this video but I though he did a good job of highlighting the sounds of and differences between these instruments. Yes, he could have EQ's every bass differently, but that wasn't the point.

The Strangles weren't a bunch of kids fired up by Punk. They knew how to write a song and play their instruments. The keys on Peaches certainly means they were tuned to concert pitch. The song is as easy to play in Eb as any other key, because the bass doesn't hit the low Eb. The lowest note you have to play is F#.

They could be built/wound completely differently. That would create a different sound.

Check out books by Jamey Aebersold.

I believe PJB's idea is to add powered cabs when you expand a rig. If you've bought into that concept then a powered cab would be the logical next step. But I'd echo what others are saying, why didn't you chose to use your Ashdown and 115 for smaller gigs? I would probably keep the combo for home and rehearsals and use the Ashdown and a good 112, like a Barefaced, for everything else.

When I advertise (which isn't often) I make sure a full description and all info is included, I have researched the price and clearly stated all red lines, ie no pay pal etc. Then you just have to sit back, deflect the jokers and wait for a real customer to come along. There have always been dickheads, which is why many ad's from the 60's on were inclined to state, "No time wasters". I'm sure it's worse these days with the internet, but you have to have patience, stamina and not need the money in a hurry, take your time.

The flats I've used have a great, thick, warm, chewy, fat and thumpy sound with most of their energy centred in the low mids. They don't always sound great on their own but in a band they just fit right in. They sound like this Sean Hurley (including a great insight to playing a band @ 4.36) https://www.youtube.com/watch?v=AsApLu5TF6I Mike Leech https://www.youtube.com/watch?v=gr_eVcCAUXo Bob Babbitt https://www.youtube.com/watch?v=A0F9lh8TiSM

I'd prefer it sprayed black.

I tried flats on a passive Jazz that I owned a few years ago. While it sounded pretty good, it brought the sound of the Jazz too close to the sound of my P bass. I ended up going down the traditional route with flats on the passive P and rounds on the active J.