chris_b

I like this. I hear a more traditional bass line with riffs and a hook, rather than the disjointed circus bass slapping most "modern" slap players put up on YT.

. . . . plus Anaconda, Manson, JD, Watson and Sei, to name a few more.

I sold what I wasn't gigging about 3 years ago. Since then I've bought 2 cabs and a battery. I'd like a British made bass but none have come up that have caught my attention. Basically, there are no more upgrades required and I'm happy with what I've got.

No. I don't slap. Sadly, iIt's a technique I've never got to grips with. The bucket of spanners falling down the stairs that is modern slap just leaves me cold, but I love the old "thumping and popping" that Larry Graham invented.

James Jamerson was one of the greatest bass players. He's up there in the top 3 most influential bass players ever. He completely changed the instrument. He changed how people thought and expected bass lines to sound and fit the song. It helped that he had perfect timing, a total understanding of music theory and an ability to make up interesting and complex bass lines on the fly.

IMO a great sounding bass isn't much use if it doesn't feel good to play. I know this is a first world issue, but as I said before, my preference is to buy great sounding basses that are of a similar spec, rather than having to work at changing my playing style for every bass. If anyone wants to call that a lazy attitude, then I'm happy to agree with them. I'm mostly attracted to Fender style instruments, so I really don't have to look too far for excellent basses that fit my preferences.

How about Racket Grip etc, the strips of sticky backed cloth you wind around squash and badminton racket handles.

I own a 1968 Fender Precision and while it wasn't quite a "dog", it was nothing special. I gigged and recorded with it for 25 years and it worked, a) because there was no internet temptation to make me want to sell it, and b) because to the rest of the world (including a couple of good producers) a bass is a bass. I wouldn't buy another 60's Fender but since owning a 2006 Mike Lull P bass I would certainly buy another. The Lull is several orders of magnitude better than my old Fender. If you're looking to spend "Vintage" levels of cash on a bass, only do so after checking out a Mike Lull bass first. We buy basses for ourselves, a Squire will work just as well for the band and an audience.

It doesn't matter what the string spacing is, as long as you get your muscle memory right you'll be fine with wide and/or narrow. I'm lazy. I decided to stick to 18-19mm with all my basses (one string spacing to rule them all!) , because then I don't need to spend any time adjusting. All the basses I've played and am ever likely to play have come in those widths.

IMO TOTP was pretty unmemorable in most years. The great music was being made by guys who weren't going to be invites on to TOTP in a million years.

In the 60's and 70's Fender QC was patchy. Sadly, with Fender, age and "vintage" is not a guarantee of quality. Play them before you buy. If I was after a Fender Jazz bass, the only model I'd be looking is at the Fender American Standard from 2012 - 2016. They were gems.

Sad news.

Picks give you an attack, and punch to the note you don't get with fingers, which give you a warmth and depth that you don't get with a pick. The EQ's on modern amps are flexible enough to get someone into either ball park.

It's tube driven mosfet circuitry according to the Mesa web site. I guess that means it's a tube preamp and SS power amp.

Sean Hurley, understated playing, beautiful feel and bass gold.

I despair that musicians can't appreciate strong performances of other musicians.

I went for separate 112's because they represent the lightest lift. I also chose cloth grill fronts to shave off another couple of pounds. I would still have to carry a 212 up stairs, over gravel paths and muddy puddles which is why I never considered one. I have a bad back but my legs are strong so I don't care how many trips it takes to the car as long as each trip is a light as I can make it. BF cabs are efficient and very loud for their size. I can now do gigs with 1 cab, which is even better.

Hi Ivan, I only got in 2 gigs with the BB2 before the 1st lockdown so not much experience yet. I used the BB2+SM and compared to the SC+SM the sound was bigger in every direction. Lower, fuller, fatter, higher, but it's a bigger cab, so I guess that's to be expected. The B string was thunderous. I wouldn't use this rig for every band, the SC+SM has just the right flavour of "vintage" for me. I've used the SC+SM for a couple of years and didn't have a sensible reason to buy the BB2!! If I had to go back to 2 cabs I'd choose the SC+SM. they just sound so good together.

I put petrol in my car today. The first time since last September!

Hi @IvanBass456, if you are happy with your sound through an SM, but feel the need to upgrade, the logical solution is to add a Super Compact. You will have a bigger low end and more punchy low mids and mids. You get 3 rigs from 2 cabs and they will all sound great with your amp.

Loved it. MonoNeon is something else.

A cover is either your copy, an interpretation or anything in-between. Sometimes it's satisfying to play the original parts, then again, sometimes you have ideas you prefer to play. It all depends on the band you're in.

In the late 80's or early 90's, when I was still using my BS412, I saw a band (might have been The Hoax?) using a Ref 3000 and it sounded fantastic. I wanted one. Because I was strapped for cash, I spent ages trying to track a used one down. I never found one!!

Freddie's an amazing player, but what a fantastic drummer. Looks to me like she gets them clapping on every beat.

10 full backs and a goalie.