chris_b

Alex Al, Jackson's bassist towards the end of his life, used a Jazz bass, synths and keyboards, probably with a lot of processing. I wouldn't be buying all that stuff for one song, so if I was playing this I'd use my Jazz bass. The important thing here is how you play the line.

There are blues songs in the set, but they were all played with R&B and Soul arrangements.

Were ramps a "thing"? I've never seen anyone gigging with one.

OK, Fender Jazz bass guys. . . . What are the best sounding Fender Jazz bass pickups? I might be looking for a set. Did any particular pickup model make anyone stand up and go, "Wow"? Were they passive or active? I'm currently thinking Fender, but if someone else made a better set of Jazz pickups, let me know, I'm also favouring passive.

Being a musician and being in a band do not always mean the same thing.

If one is a backup, then it makes sense to take both. I try out both basses during sound check and play the one I think sounds the best on the night.

I have an M80 and it's a great gig bag. When my leather Harvest gig bag wears out I'll replace it with another M80. ps Mono M80 Vertigo

IMO the basic difference between a pro, a semi-pro and an amateur player is attitude and ability.

I'd recommend TI flats. I put a set on my PJ5 about 7 years ago and they are perfect for all my bands, from blues and rock to Reggae and from top 40 to Americana.

The difference between an amp running at 4 ohm and at 8 ohm into 1 driver will probably be minimal. Add a second cab and the increase in SPL will be noticeable (because you are moving more air) and that will make your sound better.

I bet there are very few of us here who couldn't play a gig using different basses and with different sounds. What's the point of owning several basses (as many do) and not be able to gig with them because they don't sound the same? IME most basses can get close to a sound and if you're using pedals the sound of the bass comes second anyway.

I have two #1 basses, a PJ5 and a Jazz 5, and they are a backup to each other. Either one will do a great job and it doesn't bother me that they don't sound the same. IMO as with any great instruments, they are totally interchangeable.

On the rare occasions I do anything to my basses: I take the bridge saddles down until the strings buzz, then raise the saddles until the strings stop buzzing. I seem to remember doing this when I switched over from rounds to flats about 10 years ago. For anything else, I get the Bass Gallery to do it.

Why? It's a Punk band!!

For practicing at home I run a Barefaced One10. Great tone and with my TH500, louder than my neighbours will tolerate.

In March I bought an amp, auditioned it, sold it. Does that count? My 2 regular rigs have been unaltered for 5 or 6 years.

Forget bass gear, I got several boxes of chocolates. Much more useful.

In the 80's BT chopped out 3 layers of IT middle management and the business didn't miss a beat. What a surprise. I worked for Big Blue in the 00's and in 5 years we had 6 reshuffles! These had no effect on the job we were doing or on the service we gave to our customers. They were pointless and only proved to me, yet again, that a large percentage of managers are an expensive and unproductive bunch of wasters. And don't get me started on US management! OK, I will. . . . in the 90's we were taken over by a US company and the first project for the management was to count the carpet squares in all the offices, to ensure that no one had a bigger office than their manager!! They were also annoyed to find out that several of the smaller offices had curtains and the managers offices didn't!!

She's thinking about the bass line in isolation and not playing with the track. She not a bad player. She's hitting the notes OK, just has to get the timing and groove right.

I'm not a fan of buying cabs because of their looks. The amp looks good on the case. IMO your Super Midget sitting on top of a Super Compact is the best way to go. Or you can run the SC stand alone.

Looks like a TRB, don't quote me on that, but certainly a Yamaha.

In the past I was likely to vote with my wallet, but these days I'm more inclined to support the guy who is being screwed, particularly if his bosses are laughing all the way to their off-shore tax havens.

Technique is all about accuracy. Moving smoothly from one note to the next and seamlessly putting together patterns of notes. There are world class players who tear up the rule book, but for the rest of us the accepted technique for our instrument will usually help us be better players. I have never thought about either of my thumbs. They go where they want, but after threads like this I've noticed my right thumb is a moving anchor, and my left thumb is 90% on the back of the neck and 10% wrapped around the neck, although those numbers can change by the song or my mood. One thing I have changed over the years, these days I try to play with a lighter touch. When I had energy to spare, my technique was pretty agricultural. Now I play with the least energy I can get away with. I think it's helped my playing to mature and improve. I can move around the neck a lot easier than I did and the notes are more even than they were.

The Metro basses were made by Yoshi Kikuchi and a small team team of luthiers under Sadowsky supervision. As far as I know the Metrolines weren't made by Yoshi.