Beedster

My orchestra time was long ago, but I remember that's how I knew I was in tune, you don't hear the pitch, you feel the resonance of the section. It's a lovely feeling, I can occasionally get it playing DB in Jazz/Bluegrass, especially if there's another instrument that needs to 'find' the note, fiddle being the most obvious example. But it's for the same effect that I love doing BVs, that moment when a 3-part harmony comes together perfectly, although rare with my lot, brings that lovely resonance

That was the first big lesson for me years ago; he told me to change my EQ, I said "That's not the sound I'm aiming for" he said "At this stage you just give me the sound that allows us to do anything with it in the mix, that's not what you're giving me at the moment"

Exactly, doesn’t look like Mesa at fault here

1. Take a Precision 2. Do what the engineer asks, they know what they’re doing 3. Don’t lose patience with drummer, guitarists, keys, and singer, remember they were not blessed with good enough DNA to be the bassist Enjoy it 👍

You clearly need not only a more expensive bass but more expensive headphones mate 😁

For a guy with your username you seem rather sensitive to two middle-aged blokes having a bit of a tiff 😁

Point taken but yes, it does, they’re doing what most of us would love to do. And if either of them offered me a gig …… 🤔

Agreed, I'd extend it to everyone making a living out of playing music

Nice but...... ..... you were allowing your kid to play slap......?

I gigged my '73 the other night, and couldn't escape the sense that it really did sound better than the more recent instruments I've tended to gig. Couple of comments along the lines 'That bass looks like it could tell a story or two' also, which is always nice. Funny to think it probably did it's first gig before the World had heard of Springsteen......

This ^

Lovely to gig an old bass 👍

Great video, I loved the insights, the stand-in keyboardist playing havoc with the bass octaves was classic Great lesson in monitoring DB also, give yourself mostly the simple less toneful signal so that you can hear very precisely what you're doing and send more of the complex but nicer signal to the audience 👍

Yes, while the sudden urge to nip down to the shops to pick up some Barts and an Overwater is understandable, I suspect that brain and fingers are the real active ingredients for the tone and technique

Quite a relief to discover that it's not just amateurs like me who do that! As Ian suggests, IK for Pizz but a lot more useful for Arco, but for either a great way of checking especially on noisy stages

I'm really not sure whether that's a feat of engineering or a work or art, it's probably both. Wonderful 👍

Totally agree, he's a classy player not just in terms of the techniques he's able to call on, but in terms of when and how he chooses to calls on them 👍