Boodang

I would say they should be long enough to reach the speakers!

Has always been fingers until a few years ago when I got into Bobby Vega's playing which inspired me to spend some time with the pick over lockdown and now it's beginning to feel more natural. One of my earliest musical influences was Chris Squire, so the pick technique I've worked on is based on his where I'm only using the very tip of the pick and letting the side of my thumb on down strokes contact the string which adds an harmonic edge to the notes. Use fingers for when I want the lines to swing or for quick staccato lines, think Stratus, and the pick very much in the Squire vein (I'm not delusional enough think I can play like him!) or for lines that benefit from filling out with lots of ghost rhythm notes (ghost notes obviously play a big part of groove/funk finger playing I'm thinking more rhythm guitar style with the pick).

Just got the Galli Synthesis chrome flats on my fretless jazz.... shaping up to be my new favourite. A very flexible string in much the same way as the Obligato's are on my upright.

I used to use D'addario XL chromes a lot, by complete contrast to the Galli's they are a lot stiffer. The D'addario nylons are closer but the nearest would be the La Bella gold white nylons in terms of flexibility. Being a synthetic core I would say the feel of these strings is about the opposite of stiff as you can get.

I will give updates and yes, the warning is a little concerning. You couldn't replace a broken string at a gig as, like the Obligato's, they'll take a couple of days to settle down and not go out of tune. I play about 50/50 fingers and pick, so it'll be interesting to see how they stand up. Especially to the pick playing as you can really feel them flex. I like that feel let's just hope the strings don't mind!

Synthetic core bass guitar strings! These were mentioned on another basschat thread, so have just put a set on my fretless jazz. I have a set of Obligato synthetic core strings on my double bass and love the feel of them. Always wanted to try some synthetic core strings on my fretless bg but up to now haven't found any. I'm obviously not keeping up to date with things as I haven't seen these string advertised anywhere. But they're on my bass now and I love the feel... very flexible to play, especially with a pick. The notes bloom well, then decay in volume quite quickly with a medium length sustain. By contrast, the strings I had before, D'addario nylons, had less bloom but a more even decay in volume. They don't have a huge amount of treble but about what you would expect from flats. Putting them on the bass, you can feel how flexible and soft the inner core is when you start to wind the silk end of the string on, it's like butter! The packaging comes with a warning I've never seen before about the delicacy of the material used and great care when stringing. The E string machine head is closest to the nut and some of the chrome wrapping is wrapped around it and you can see in the picture how the winding is beginning to open up. It hasn't spread further though. Hopefully the strings are not delicate when played but only time will tell.

Also, one reason to join a band where you don't like the songs they play; the love you get from the audience when they're really into what you are playing.

Brilliant! This thread is like having ring side seats at a boxing match!! My twopennies worth; it's not how you get there or how quick you are at learning, but the end result that counts... how good does it sound, and not just the bass player. The audience doesn't care whether or not you learnt it quickly so long as it's good. I also wouldn't be condescending to any other musician just because they aren't as good as I think I am.

I've been using the Samson SR850. Not that expensive and very good. Use for bass and electronic drum practice.

For me the level of dedication to the cause is more impressive than someone's level of skill.

All the spectrum analysers in the world won't make up for an engineer with a warped sense of what a good sound mix is, as demonstrated by the proliferation of bass bin abuse that goes on!

Have been looking at the G&L custom shop basses. I haven't ordered from them so don't have experience of that but out if interest they do have a list of the custom options available which are quite extensive; neck radius, nut widths, frets, lacquer finish, neck woods, body woods, binding, pickup windings etc. Quite fancy their version of a jazz with a vintage neck radius.

Question; should I join a covers band when I don't like all the songs they do. Basschat answer; I can learn a song in one listening. I should imagine bubinga5 is not so much wondering whether to join a covers band so much as whether to take the strings off his bass and hang himself. Quite psychologically interesting to read the replies though!

You guys should start a new topic 'how good, or not, am I at learning covers' and slog it out over there! At this rate bubinga5 will be put off joining any covers band for life.

I'm sure if you have the talent there's an audience for a Rush tribute band! But as always you have to be happy, at some level, with what you're playing and the gigs you are doing.

I love the way basschat threads go off topic quite quickly! We go from 'pros/cons' of playing in a covers band where you don't like all the songs, to how to enjoy playing in said band (still relevant), to how to learn songs (not very relevant). PS as we're off topic, if you want a covers band that'll challenge you, do jazz standards, and there's an audience for it.

Due to necessity (remote part of the world) found myself in a covers band the other year where every song we played I genuinely hated. Not a problem though as the audience didn't and it was great fun. Even learnt some great bass lines I wouldn't have otherwise.

Drummers and their kick drums! Went to see my daughter's drum teacher play in his band, everytime he hit the kick it was like a grenade going off! It's quite ironic really that modern PA systems finally give us the power we need for bass frequencies but it often gets abused like it's a new toy in the box.

Mackie DLM12. I play a Jazz fretless in much the same way with lots of melodic lines. Did some gigs abroad playing folk orientated music and got given the Mackie to play through. I eq my bass through pedals so don't need amp eq and the Mackie was perfect as it's quite neutral and plenty loud enough in the folk setting. And if you need more volume you can always add the subwoofer but haven't tried that setup yet.

Yep that's synthetic cores for you. I've got Obligato's on my upright and it's the same, takes a day or two to settle in.

Check out Creamery pickups (in Manchester I think). He does various jazz and precision winds, I got a 70s P from him and it's awesome, plus a pair of jazz custom made to my specs. He's v helpful, I'm sure he'll rewind your p pickup to your specs. Can't recommend highly enough.

EQ; unless you've got big folded bins your bass cab, no matter what it's loaded with, will start to roll off significantly below 100hz. Consequently perceived bass out in the audience is more defined around eq'ing the 80/100hz area and definition of your notes eq'ing the mid range area. I had an SWR Silverado combo once, the 4 x 8 version. Dreadful sound on its own but cut through in the live situation really well and in the band context had a great sound. In contrast had a Trace Elliot 300 watt 1 x 15 combo which was plenty loud and sounded great on its own but was always fighting boominess in small venues. In terms of being heard and controlling tone, have had the best success with 4 x 10 cabs. But it's different for every player of course.

... or natural if the wood is good enough.

Sunburst with tortoiseshell. Got a tort control plate for my fretless as I like it so much.

Yeah, Billy Cobham, Chick Corea, Tribal Tech etc... how disappointing can it get!!!!!!