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For sure! Just came across this version earlier today which made me think of your comment - now these guys do it "making it their own" brilliantly!

I’m in agreement Dave, if I can I play the song exactly, if there’s no way of working it out - and if YouTube doesn’t have it - then at that point I’ll settle for what I think it is. But I won’t add in stuff that wasn’t there, for me being as near to the original is the all important factor.

For those interested here is a comprehensive demo.

Not a decision as such. Many years back when I first started playing it with a previous covers band, we were struggling to get tight on coming in together at the start with acoustic guitar coming in on the up beat ahead of everyone else, so that's what we focussed on sorting. The simplified bass part I played fitted, was certainly "good enough" in terms of audience reception to our song - it was always about the guitar solo at the end for them - and no one said anything. That changed when the singer in my current band last year mentioned that she'd heard a really sweet bass riff on that song. It did then actually take a fair bit of effort to unlearn the "wrong" bass line! I think it's only since I've been working with a semi-pro crew that I've been paying closer attention to some of the actual bass lines and realising just how much better many of them were than the simplified versions I'd been playing! Another easy example would be Killers "Somebody told me" - for me that loses a lot when the bass line is flattened, which I've often heard. With that one, I made sure to learn that one properly from the off!

Honed mine down to 7 essential pedals... Really happy with this version.... Korg pitch black mini, MXR Dyno comp bass mini, MXR vintage bass octave, Darkglass B3K, Xotic bass RC booster, EBS bass IQ envelope filter, Boss bass chorus. The MXR compressor is just lovely... Inconspicuous but tightens things up perfectly !

I've owned both models. An earlier 80's graphite necked Arpege and a 1990 Passion with the 90/10 neck. The in's and outs have already been covered in this thread in a way which would put me to shame, so I'll leave it at that. I consider them amongst the best basses money can buy.

We are lucky enough to only have a couple of places that we have to invoice. The rest are good old cash in hand at the end of the night.

I had an interesting day yesterday. I had a lesson with the db tutor which was a combination of frustrating, affirming and eye opening. When I arrived, he asked me to play something so he could get an idea of my level. I played an adaption of Nature Boy Ive been using as a practice piece. He stopped me and told me I played at a higher level than him and he didnt know anyone who would be able to teach me. Fair play to him, he also refused payment for the lesson so we had a little bit of a jam and general chat instead. Very good for the ego but mildly frustrating because Im fairly aware of some of my shortcomings and dont really have a route to address them. The eye opening bit of it was that Ive come to the conclusion that, contrary to what I thought, I do not own a double bass but rather a hybrid instrument with the same scale length and tuning. Obviously he brought his bass along and I found it nigh on impossible to play for a combination of reasons. The body shape is vastly different from mine and my technique didnt really translate to being encumbered by the deeper body, position of the heel and presence of the instrument shoulders. The setup was also hugely different from mine - he aimed for the nut being slightly above his head rather than the eyebrow level Ive settled on. Also, whereas mine is setup with fairly high tension steels but a relatively low action, his was setup with lower tension nylons and a higher action. His playing tends more towards rockabilly slap at the bottom end of the instrument whereas mine is geared more towards walking lines and melodic excursions higher up the neck. He couldnt play his style on mine and vise versa. The real eye (ear?) opener was the difference in the sound of the instruments. Mine plays more like a second harmonic instrument - his had a very deep and resonant low end and considerably more volume whereas mine was much quieter and far more mid focused. In volume terms, mine struggled to keep up with his acoustic guitar. Obviously mine is primarily intended as an amplified instrument but I was really surprised at just how little volume it produced acoustically in that scenario. Id be interested to do an a/b test with mine amplified to the same level, especially as ive found my experiments so far result in a much boomier sound than the instrument's acoustic voice. Whereas his had more depth and power, I did find mine to be far more articulate and probably more suited to the style of playing I'm developing. So, in conclusion, hmmmmmmmmmm

Haven’t posted my board in a minute, only changes I think I’ve made have been swapping in a DOD FX-25 & the addition of the new GoliathFX Wyrmtongue, for road testing. So far? I’m very much enjoying it!

A run through of my pedalboard that didn’t even make it a full day. Mainly my changes are from this video and the octave shootout. I either don’t enjoy or need the Capo, and the deco I’ve been able to replicate on a pedal I can drop mid chain when I feel like it. My preference currently is to keep the MXR octaver.

Well this and the accompanying video lasted all of 8 hours. Where the Kasleder is in using as a spot to patch in and audition pedals. Getting dangerously close to velcroing this down.

Its crazy. Im seeing people loose sleep over how my milliseconds their compressor has dialled in for attack, how many string windings they have on the A string, how straight the neck is etc because the audience will probably walk out if any of that isn't set right, , and yet dont care less if they play the wrong notes in a song 😀 Again, this thread wasn't about the fact that you should play it exactly, but I do find it satisfying when I know it's as close as I can get it. Al. You left out the most iconic bit of that song? How and why did you come to that decicison? Not judging, just curious.

Chalk and Cheese. Aim. Reduce stage Volume Send Bass to PA at around ?? 50% Use IEM's (plus "ambient" Mic) Result Initial resistance from band Sooo much bass reinforcement in room that it was problematic. But persisted with band members to stupidly reduce Bass/Mid Lows from Amps etc. Phenomenal sound out front - several comments from audience Bass/Kick drum .... great sound out front Sound levels on stage better - comment from band that they could ear everything!! IEM's ....... borderline disaster. Great Gig EQ'd aggressively to reduce bass frequencies - well done guitarists for helping at amp level and rewarded by many comments at the end - regulars to the venue came up and complemented us on the sound AND the volume! IEM's ok apart from the bass, which was very "clanky" and unpleasant........ So ..... I'll be along shortly on another thread asing about "How do you EQ IEM's so that the bass doesn't sound sh*t!) Same as outdoors .......... of course not!

I realise that this is a 6 year old post now, but perhaps you could elaborate on the pressure issue. I've got my J-tone pads squeezed rather tight in the gaps on my bridge. Is that not a good idea? Should I give them a little more room?