chris_b

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.

I love these guys. So many great players around.

That's probably not true. That clarity will enable people to hear your bass lines through the racket made by those loud guitars and shed-building drummers. Of course you'll need the right amount of volume, but you will require less volume to cut through if your sound is clear and well defined.

I haven't used a 412 since 1973! But I did use my 212 and 2x112's on a gig a couple of years ago. I used both TH500's to drive them. I was so loud that I had to turn the whole lot down to normal volume levels so that I could hear the guitarist! I could have been that loud with just the 212.

We cramp up when we are trying to play faster than our muscles can manage. Practice until you can play without cramping.

I just think of all the brilliant players who somehow got by without ramps and stuff!

I know. I don't like out of focus basses either!

This is why you always give every gig 101%. No matter how bad a gig is there is always the possibility that someone, who can help the band (or you), is listening. I was asked to join a good band once because the band leader, who had dropped in for a beer, was impressed that I was giving it my all to a couple of disinterested punters.

For a couple of years I've been using an Aguilar AG700 through Barefaced cabs. Before that it was a TH500, now my backup. IMO these amps punch way above their weight. My bass is a Sadowsky Metro RV5.