chris_b

I have used DR Lo-Riders and Hi-Beams and now D'Addario NYXL. I'm happy with the clarity and definition I get from these strings, but IMO any muddiness is probably down to the bass. My Sadowsky produces very clear notes on all strings. From the reviews I've read Dingwall's might be the best for clarity.

I think Motown valued Jamerson very highly. He was the highest paid session player in the USA during Motown's heyday. . . and they put up with all his "games", which none of the studios and producers in LA did.

Very true, but I have played some very good gigs were the singer has been depped. You work out what the dep knows and what you know and the gig takes shape from there. I would imagine it would be almost impossible to make this work with an original band or with a bunch of players with little experience or no depth of repertoire.

Reading some of these posts, you can make problems for yourselves if you insist on playing the original lines note for note on every occasion. If you really have to play a line and you can't, then the only answer is to practice it until you can! If I'm learning a song, I check the original version, then I have a look for the original band playing live. Many times they aren't even playing the original lines themselves. I work out what needs to be kept and what I can add. I make sure I capture the gist, the feel and flavour of the original but I'm the player. It's perfectly acceptable to make these songs your own.

It looks like we are at opposite ends of the spectrum then. I can't understand sitting at home, twiddling your thumbs, when you could be gigging, just because one of the band might go on holiday! I also don't understand this all or nothing approach when it comes to band members. If these guys are the only ones you can comfortably play with then your band needs to work on improving their confidence, flexibility and musical ability.

Excellent news.

The first thing that sprang to mind when I read the title was Police and Dire Straights songs. Tina Turner, Steely Dan and D'Angelo can also be "roasts".

As a dep you get one chance. Unfortunately, a couple of years ago, I was Ill on the day of a dep gig I was doing. I called, canceled and apologized (I still feel terrible that I let them down) but I knew they would never call again. They haven't.

You've got an immediate problem. As has already been suggested, a 2 channel outboard preamp would solve that. Then, if you feel you still need to, save to upgrade to better basses, one at a time.

All basses mentioned are top instruments. I'd add the name Overwater to the list. These are some seriously good basses.

I saw Knower at the Jazz Cafe last year. What a great gig and Sam Wilkes is a bass player everyone should check out. Love this track and video. . .

I've heard a couple of these on gigs and they sounded very good. I know it's unlikely, but if I could find a 5 string at under 9lbs I'd have it.

I use a Mike Lull PJ5 and it's one of the best basses I've owned. Why do you need a 5 string bass? If you need one for the music you're playing, bite the bullet and buy one. If you have a bass that you "love" then making it BEAD might easily change it into a bass you don't love anymore.

All common sense points. . . as is the Why Play 5 String Bass video.

IMO Radio 4 or Radio 5 Live Sport sounds best in the car.

I've only left one band acrimoniously. I told the band leader to screw himself after he started mucking me about with the gigs. Taking gigs back that he'd given me and giving them to a mate of his. Then he "forget" to tell me he'd cancelled a couple of gigs. The car was loaded and the motor running when I found out! Other than that one, I always try to leave bands on good terms, usually to join another, hopefully better, band. I have been fired. There isn't much you can do if you're good one day and the next they decide your face doesn't fit. Always try to be in 2 bands so the diary doesn't take a hit. Bad experiences can be minimized if you are with better players. Always aim for the bands with a more professional attitude. Playing with guys who are doing it "just for fun" opens you up to all sorts of bad and flaky experiences.

If something works then incorporate into a practice regime. If you try to run a marathon you won't get far unless you've already trained to run a marathon. Hydration is important but it's only a small part of the picture. If your muscles, tendons and ligaments aren't up to it you're not going to succeed and you'll be running the risk of straining or hurting yourself in some way. As I said, practice, practice and practice some more. Use your hands in such a way as to train them up for speed and dexterity. Play lines faster than you need and then the slower speed of the song will make it easier to play. Most of the time "Digging in" is wasted energy. Control your playing and increase your accuracy. Then. . . . always warm up, relax, play softer, let the amp take the strain.

I know someone using an East Uni-Pre with Barts hum-cancelling Jazz pickups and his sound is amazing at all frequencies. Fat, full, warm, punchy, clean. . . think of a positive word to describe sound and it's there.

Not for me.

Our drummer wants us to do Footloose. . . I'm up for it but I'm not sure how a guitar let trio is going to do it justice.

With a click there is no need to "pull" tempos anywhere. Surely, being locked in with the drummer "at all times" is the objective of any band?

Any musician who can't keep time should be practicing like mad until they can. Either that or hang up their instruments. Click tracks are a way of ensuring that songs are always played at the same tempo. As I say, using a click to keep wayward playing in check is only a sticking plaster.

Drummer can't keep time? Time for another drummer.