chris_b

Anyone have an opinion on the best clip-on tuner for a 5 string bass, ie can tune a B string on a noisy stage?

I don't do a different sound per band, or even per song, like some seem to. For 30 years like most of the guys, I only owned one bass, amp and cab. I still usually use the same bass and amp for all my gigs, from blues bands to weddings, although the number of cabs may change depending on the volume.

I'm currently playing with a questionable second guitarist. As long as his amp is on the other side of the stage I can deal with it, but I couldn't be in a band with a bad drummer.

I've never broken a string (as I previously said) and have never needed a backup bass. In spite of that, I have used and new sets of strings in my accessories bag and I usually take take 2 basses. It's not OCD, really.

I did that once. The drummer stacked his cases in front of my bass and I didn't see it! He took it home with him. Oh, how he laughed!!

Many years ago we had a Sunday night residency in a local pub. They also did a lock in after. I thought we were being raided when a dozen coppers came in via the back door. They'd just come in for their regular nightly beer!!

At Blackfriars Bridge? I stopped gigging when I started IT shift work.

Wasn't that Punk? Seriously, maybe give the singer your number and say you'd be interested if he ever forms another band.

I have never broken a string, ever. You are definitely doing something wrong if you can break 2 on the same gig! I never lend my bass to anyone, even friends. I've seen too many instruments returned with scratches, dents and marks.

I would imagine the job comes first and shift patterns will be a reality. Finding a couple of good deps would be my suggestion.

How much difference does a hi-mass bridge make? The answer is, it depends. All stringed musical instruments (even electric ones) make their noise through vibrations. All parts of the instrument are, to a greater or lesser degree, involved with either accentuating frequencies or dampening them. These effects are noticeable or not depending on how the instrument was made and what it was made of and the ability of the ears of those listening to it. The pickups finally amplify the result.

You're not nuts to be trying out different ideas. If they work it's a winner, if they don't go back to EADG, no loss.

I don't think you'll see much of a volume difference between 4 ohm and 8 ohm from your amp. More "headroom" is desirable when an amp is running out of steam. Your BB2 is only just ticking over at 400 watts.

I met Chris White a couple of times. He "managed" a band I was in.

Advanced? My derrière!! Players have been putting cabs together making "modular systems" since the 60's.

Pick any bass tone and, no matter how successful the song or how great the tone is, there will be someone who doesn't like it.

Thankfully I only play with grown ups and we deal with problems, before, during and after the gig, in an adult way.

You have jinxed me, yet again!!! The "Must be better than what I already have" rule kicked in again yesterday, but this time it really was better than my current amp, so I have just arrived home with a new (to me) Bergantino Forte HP. Am I bovvered. . . . ?

Stretching to reach notes is physically bad for you, poor technique and unnecessary. If 1-2-4 is more comfortable and you can achieve an even flow of notes, then do that. There is no benefit in using force during any technique. IMO, if it's uncomfortable then you're doing it wrong. If you are going to use one finger per fret on a chromatic scale make sure you DON'T anchor your thumb and then stretch for the notes. Always move your thumb/hand so your fingers can reach the notes without stretching. You can play a chromatic scale with just one finger. Try that and see how many times your thumb moves. That's how mobile your hand/thumb should be.

Shredding videos are just that. Technique show off pieces. They are not how players play when they are in a band or playing an ensemble piece. People who are this good know what fits in and where. Listen to Victor Wooten playing with Bela Fleck and Keb Mo and you'll hear all the right notes in all the right places.

This. Learning songs you'll never play live is still teaching you about rhythm, technique and chord changes. You are building up your library of riffs, licks and lines, which you will go on to adapt and play in many songs in the future.

If you've got it, flaunt it! I'm jealous of anyone who can play bass better than I can, especially 9 year old kids!!!!

Double post!!

You're very kind. I still think I should have worked harder to make myself the first choice, but Phil Chen was a monster player back then. It was a bit of a David and Goliath situation for me.

In 1971 I joined a band when Phil Chen left. Several months later, when his band folded, they kicked me out so he could rejoin!! Like so much in music, you just have to put it down to experience and move on, or you'd go mad!