chris_b

All valid reasons. . . . but IMO your need might be more pressing. One lesson shouldn't break the bank.

I don't really do FB, but I'm currently receiving an avalanche of mobile and land line scam calls. The scum bags are pulling out all the stops for Christmas!

I really hope you're not trying to use one finger per fret! Is there anyone you can have a few lessons with, who can show you how to adjust your technique, so you can work around your arthritis?

Another regret. . . . in my teens I also sang, played piano and double bass. When I started to move in more capable musical circles, I let them drop. I've lost many gigs over the years because I didn't give being versatile enough attention.

I regret not networking more effectively and being less than 100% focussed. These days, I've cracked the latter but still need to work on the former!

Many thanks to Colin, Trevor, Gary and anyone else who was involved, for making the bash a great day. . . . again.

I'd take the 2 basses I'd want to play (in my case the P and the J) and make the decision after trying both during the sound check.

My TI's have been on for about 8 years. They are still youngsters. I'm using a set of JF345 Long Scale on a 35" scale Mike Lull PJ5, and the B string has about 1/2" to spare.

It's all there, fantastic arrangements, dynamics, great playing. . . and of course, those tunes. Love it, including Jerry Barnes.

It isn't one piece, it's the whole signal chain that creates your sound. From your fingers, and the way you use them, to the speaker cones, every link in that chain can make or break your sound.

I treat everyone the same. The guys I work with, including the singers, are pretty good at what they do, and are professional enough to leave any "sensitivities" at home, so no complaints from me.

I'd keep it passive and replace the pickup and wiring loom. I put a Bartolini pickup in my old Fender and there was a 1000% improvement in tone. Buoyed up by this success I added a preamp and the improvement was 10% at most. I discovered the hard way, the pickup was the main contributor to the tone.

All my gear is an evolution. I always buy stuff that is better than the current, so am always very happy. It's a different story with my playing. I'm never satisfied with that.

Always be happy with your gear. Sounding good papers over a lot of cracks in your playing! My current rig is Aguilar/Thunderfunk amps and Barefaced cabs, before that I used Aguilar/Thunderfunk amps and Bergantino cabs, before that I used Thunderfunk amps and Epifani cabs and before that I used an Ampeg amp and Mesa Boogie cabs. That covers nearly 30 years of being happy. Life is too short for bad tone.

IMO Ramps. . . . . . sorta like someone being able to ride a bike but insisting on fitting stabilizers.

I'll usually run my TH500 into an SC when I'm playing a PJ5, with flats and a lump of foam under the strings. This is a very complimentary signal chain. I think your LM3 would have a pretty good "vintage" sound through an SC. I usually run the LM EQ at 12 o'clock and both filters off. That sounds good to my "vintage" ears.

Message FDeck himself on Talkbass. He'll be able to advise.

I have a set on TI's on my Mike Lull PJ5 and a set of GHS Precision flats on a 34" Cort (which were previously on a 35" bass). I try to use the fattest strings I can find and play with a soft-ish touch and string tension is something I've never really noticed. Both sets have always played well and sounded great.

But you're not getting what I'm saying. . . . don't let your finger nails hit the strings. Change your technique so that doesn't happen.

It's not a Let It Be or Strawberry Fields, but it's as good as much of the stuff that's being written these days.

I play the high bit an octave down. Works just as well.

I'd look at your technique first. Your bass might not be the problem. Seems like you're describing hooking your fingers behind the strings and tugging. Pulling through the strings parallel to the fingerboard. That's quite an aggressive technique, which would probably sound better with a very high action. I play across the top of the strings, ie looking from the nut to the bridge, 11 o'clock to 1 o'clock, 2 at most. Like this I can play with a lower action, with less energy, more accuracy and an even tone. Plus I'm only using the pads of my fingers, so the nails don't come in contact with the strings.

Did you actually use a credit card? Maybe the spaces caused by the printing would have an effect? I would prefer to use a solid piece of plastic and cut it to the size of the contact patch between the body and neck. As long as the join is as tight as you can make it, I can't see why a shim would not be OK.

You think 55 is a cut-off point for anything? A more realistic cut-off point is when no one will buy your tickets and when the phone stops ringing.