chris_b

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.

Nice one Ben. Great choice. Flats or rounds?

I haven't bought a bass since 2017. I bought the other one in 2011.

Did you know the Allparts strap locks are rebadged Dunlops at a much lower cost. . . . although I've just found some Dunlops on Amazon which are slightly cheaper than All parts. I guess it's best to Shop around.

My strap is one of these. It's about 1/8" or about 4mm thick. https://www.harvest-guitar.com/en/Buffalo-Silverado.html Unless your strap is extra thick, you should be fine.

Who told you that? Mine fitted my thick leather straps, no problem. Dunlop should be able to tell you the maximum thickness it will take.

The political system is responsible. The two party, first past the post system is to blame. If your choices are limited to toffs from Eton or Hampstead lefties, you have no sensible choice at all.

Muting problems can affect any number of strings. It's not the fault of the bass or the string layout if someone is not muting correctly.

I play at least one note on my B string in every song. Sometimes I play the low notes, but many times I just play notes above E on the B string for convenience and economy of hand movement. I prefer to use the same bass on everything because it's the best sounding bass I've owned so far, but mostly because I prefer to keep the same geography under my finger tips.

Hold on, I'm just dusting off the crystal ball.

You'd think they could have been more inspired when they came to design the headstock and tuners!!