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Might be nice running the AMT flat into the Linden and using the latter fur EQing.

It had been years since I've heard/seen that Duke quote. And now I've seen it twice in a week!! Jason Heath's Double Bass Blog

Great. Added that album to my library. Thanks for sharing.

I play electric bass one finger one fret as I can reach..though 1 2 4 would be more comfortable in lower positions. I play the double bass 124 with some back and forth extensions. Really, they are quite different instruments with different techniques. The only thing in common is the tuning of the strings. Technique does matter if you want to expand what you play. Lack of technique or a personally derived technique will likely limit you. It sounds tedious and snobby, I know, and there's a lass in my town who plays in "Americana" bands by just clamping her whole hand around the neck at a root note..then up a string for a 4th, down a string for a 5th.works ok .but she's kind of stuck playing only that style. Nb: that very nice " realist sound clip " pickup whilst excellent for jazz and for classical players wanting occasional amplification....probably not what you want for rockabilly. Stick it up for sale and put proceeds towards that shadow system probably.

The Larger Bowel - Rush

Indeed. We're at the stage where we can set everything up, bit of a tweak of the main vocal and we're good to go. Everyone controls their monitor mix but that's not really needed now. If anyone is teetering on investing and is nervous about the leap into the dark, I say leap. It's an absolute game changer and the band has improved, sonically, a huge amount. Wish I'd gone straight for that option.

only came across this as I’m learning some jamerson basslines at the moment , pretty funky

These products do not seem to be suitable for your hands. If the price is right, you can buy ten instruments to cover holes in the wall.

I was 'in' 9 bands at one point 1990s). Jazz works very differently to most other genres and rehearsals are rare so the only conflicts are gigs. Everyone makes sure they have a selection of competent deps so all basses are covered (see what I did there). There are charts and dots and everyone uses a basket of skills to make it work. Knowledge of the repertoire, the ways in which music is put together, the ways endings work, certain genre expectations etc. Jazz musicians generally have big ears so they can pull off something that, to an untrained ear, can sound miraculous. There are a million formulas for these things. Most of the best gigs I have ever done have been with musicians I have never met before let alone rehearsed with. Obviously rehearsals have the potential to make everything better but the realities of gigging for professional musicians makes frequent rehearsals economically unviable. In my experience, one rehearsal can even make things worse sometimes as you end up confused by details that impede your thinking. Also, reading dots and preparing quality charts can make rehearsal time incredibly productive. 'Learning' tunes can be overrated.

Unmistakably Camel. I will put it on the list. I have been working on a guitar chart this week and it it exhausting. I did the Haden charts for a break and have a Marc Johnson chart that I should finish today. My next target is 646 transcriptions which would be 200 since I came back on line.

Faece The Music - Louis Tomlinson

Sorry to hear about the dodgy gig and w@nker of a client (it happens) but they are 2 crackin‘ looking basses Gromit!