chris_b

Many box shifters raise an order with the distributor to ship directly to you, so they never see the instrument. I agree, it's a factory set up issue, but the shop is the first line of responsibility for any issues, like badly cut nut.

In the early 70's I was in a band that played the same venue every Friday, Saturday and Sunday for about 8 months, playing Soul, R&B and current top 40 hits. I loved it. So did the audience! In the 80's I did a weekly Sunday lunchtime at a pub in Camden. Then switched to the Friday night slot. That was for about 2 years each. We were a high energy Chuck Berry, Dave Edmonds boogie band. That band morphed into a Chicago blues band which played every Tuesday at a West Kensington blues venue. Residencies are great. Play interesting songs with enough energy and humour and the audience won't notice that the set is the same as last week. The only cons to playing one gig a month is it's not 2 gigs a month!

Sadly I had to leave after a couple of hours, for a late afternoon gig. I managed to catch up with a few and I missed chatting to so many. Ian King. . . . showing me where I should be, instead of where I am!!

Groove, swing and rock. Timing isn't on my list, because if he doesn't have he's not in the band in the first place.

You can play anything on any bass. If you're after good 5 string basses also have a look at the German made Sadowsky Metrolines. These are excellent. Bassdirect has a couple in their pre-owned and ex-demo section.

I always get the chord. I can't lose them that way.

I use PRO17's for regular bands and PRO26's for my very loud band. I have no problems communicating on stage and no trouble hearing what I need to hear. Without ACS I would be either totally deaf or not playing. If you feel "disconnected" deal with it. That's what you'll end up with 24/7 if you don't use effective hearing protection.

Yes. . . Sorry about that. It was Ready Steady Go.

I remember watching that program. I believe Dusty was responsible for talking the BBC into putting on that special.

Could you run a marathon without months of training? How does anyone play fast? They start gently and slowly, then build up speed and duration. You'll get there if you give yourself enough time and focus.

IMO gigs and studio are totally different environments and require different solutions. 500 watts every time for gigs, but I wouldn't bother with an amp at all for studio work. I'd DI the bass. I'd still DI the bass through your studio if I was practicing at home. If you really have to have an amp my list would include an Aguilar and Mesa Boogie. I'd probably get a Barefaced One10.

Reggie McBride, was with Stevie Wonder before Nate Watts. I first noticed him in the early days of Keb Mo's recording Career. Fantastic bass player. Apart from THAT solo, Willie Weeks has flown under the radar for a long time. Another fantastic player.

Who does things right? In my experience, Barefaced, Mike Lull, Bergantino, Mono, Harvest, OBBM Cables, Roqsolid, Mesa Boogie, Volvo to name a few. All make excellent products that excel at the tasks they were designed and made for.

What basses have given you this issue?

If you have the same issue with the G on multiple sets of strings I'd say you had a problem with the bass, pickup or electrics.

Way too small enclosure for full, deep, warm bass at any sensible gig volume level.

The difference has always been between writing the song, arranging the song and playing on the song. Arrangers get paid per arrangement and writers get their deals, sometimes flat fees and sometimes percentages and session players get their rate. Apparently A list players in the US got 2 times the rate. The problem writers are now seeing in the US, is publishing companies have opened up a lucrative revenue stream by suing writers of hit songs for using parts of arrangements, chord structures, rhythms etc. Up to now these have never been deemed "original" and have never been protected by copyright. The US jury system is being use to change these "rules" and start awarding co-writing credits and spurious royalties where they were never awarded before. These publishers have discovered a new way to make millions. A few years ago, the US session players were given a chance to get a slice of the royalties if they could prove they played on a record. An extra pension payment that came too late for many of them.

I play on several stages where the boom can only be heard by me, not even the rest of the band! I try and pack the corner with cases and bags. Helps a little but only a little. I'm happy to do the gig if I know I'm the only one who can hear it.

In the 90's I bought a Peavey 215 BW with full flight case. The guy I bought it off helped me put it in the car. When I got home I found I couldn't get it out on my own! I had to ask the neighbour for help and while we got it into the house, we damaged the back of the car in the process! That was the last time I used the flight case. It sat in the shed deteriorating for 20 years and finally went to the dump.

Innovative, yes. Cheap, no. There was very little that was cheap about Fender in the early days. In 1969 my Fender Precision, the only version they made, cost me £1600 in today's money, and a Jazz was about £1800. Cheap guitars had very little to recommend them until the advent of CNC machines. That was the point when cheap didn't have to mean cr@p. Edit PS I've just had a look at a Fender catalogue and all the prices were in guineas. . . that makes the Precision about £1700 and the Jazz just under £1900.

Now that's what I call a good slap sound. None of yer Mark King plink-ity-plink nonsense.

IMO it's fingerstyle and not overdubbed. I think this is the same guy I saw playing on their UK tour on the early 70's, when they were touring Yes, We Can Can, he's a little white guy with great chops playing a Precision bass. 5 mins on Youtube and I think I've found him. I think this is the guy I saw. https://www.youtube.com/watch?v=MFYMtwqAfnA&ab_channel=GeneSantiniJr.Drummer https://www.youtube.com/watch?v=IzZkjjENj_w&ab_channel=Soultube

Playing a musical instrument is an art. Making one is science (with some art thrown in).

One stage I play on has bare brick walls and a concrete floor and ceiling. There is a bad boom in the corner. I fixed that by placing the cab a couple of meters away from the corner. It's still a terrible sound but there's no boom.