deepbass5

As touched on above. Band line up could make it difficult, A big wall of sound to cut through, Keyboard who uses left hand chords could squeeze you out. Try not to use bass frequencies through the effects, roll them off if there is that facility, Harmonics is what really carries good effect sounds (chorus and flange) Use Octave full range Bi Amping is great,I used this for years and it works, but make sure you have enough low end power and cone area to provide the weight. An enhancer works wonders

[quote name='hubrad' timestamp='1322323960' post='1449435'] If it really talks to you, you'll know whether it's worth it. If not, why worry? [/quote] Nothing else to say really, I only ever ask a shop to plug a bass in to try, If one says "you Like me don't you" Shops should provide blind folds to eliminate any pre judgment.

I started off finger style 90% and pick 10% on numbers that called for it. I have dropped the pick over the last few years, I believe to my detriment. I think you do need this skill in your arsenal. But never get to practice the skill to get up to speed even though some numbers were recorded with a pick and are difficult finger style.

I would agree with [b]algmusic[/b] and [b]Bottom E[/b]. Vocalist tend to determine the key and a lot of songs never sound the same when changed. I believe a 5 string is a good all round tool for most musical styles. It is a different instrument to a 4 string bass and should be considered as such. Also agree the extra string can detract from the sound of the E and other strings, probably vibrate differently too. I Like 19mm spacing to feel like a 4 under my fingers, but it isn't as easy to slap. These compromises require a better made instrument to minimalise these negative points, but the flexibility is worth it for the key options discussed and economy of movement.

Funny. If ask I name him as my favourite guitarist, because to play really good funk you need a bloody good guitarist. A lot of fancy lead players can't hold that down. So we can create big holes in the music and it all hangs together. And Bernard of course was an inspiration. What a team. will get the book nice xmas stocking filler

I was happily playing a 4 string when Disco hit town and into the 90's but a 4 string isn’t much good when all the hit songs you are trying to play are being created on 5 string basses and using synth's In the early 80's the drummer thought he was going extinct due to programmed drums and digital recording techniques, then the bass player went through the same issues when every keyboard player started laying down bass lines. Good news is we are still here to debate it. I even bought a Yamaha DX7 to compete, but then decided if I can't play it on the bass I don't wanna play it on anything else. [b]Keep this on the key change thread[/b], we don't think any less of you for playing only 4 strings, just admire how quickly you can wiz up and down the neck. I would seriously go back to 4 strings but for the ability to change keys and keep the same familiar patterns, avoiding open strings. Except of late when reading I have been trying to incorporate more open strings like upright players to give more hand positioning and thinking time.

A Mad Wedding, we usually do sedate weddings and Masonic dinners so have been a bit sheltered of late. This was like a Fat Gypsy wedding from hell. Their first song we learned miss fired a bit. But the free drink from 2pm till 1 am resulted in the two Irish families and a rugby team to fall all over the stage. Knocked over the guitarist stand and mike, also fell on monitors and the stage lights crushing one and blowing the rest. Basically we found it hard to concentrate, as many of the guys later stripped to the waste and started bare knuckle fighting around us.

Some interesting things coming out of this topic, The old 5 string debate, one reason I eventually went down the 5 route was all those 80 -90's disco songs below E and playing notes up an octave just didn't do the song justice, the other thing a 5 string gives you is even more flexibility changing keys and avoiding open strings. I guess the main point coming out here is we don't like playing out of our comfort zone. As said above we probably are best placed to change keys with least mental work than on other instruments.

Yep I know the feeling. We do disco inferno in Eb as Tina Turner, starting the run down on F# on the G string, Last week our guitarist played the whole thing against me in a different key despite me holding up my bass and shouting Eb. What was more worrying was when he said why was I shouting Eb when he settled on the right key it was in E. His hearing loss must be worse than we thought. This week he played it just fine, and never mentioned last week. He also got me to learn Sweet Child of mine in C, then a year later, can we change to D. Fine but I have learned it with all these open notes. Un nerving to do 80% in a different key I would think

Similar to Bassace, use to play trombone also tuba, so I’m ok with valves. With this in mind I volunteered to play a tuba part in our Swing Band last year at our annual concert. The band arranged the loan of a tuba from a local Brass band, and despite having 5 - 6 weeks to practice my Lip was only just up to the task. I should note I had not played trombone for ten years either but the larger mouthpiece was a killer. I have the same desire to acquire a sousaphone, I did play one in a bass quartet as a teenager, but this last experience has showed me the dedication required to get up to a reasonable standard, but then you need to maintain that level.

It is more fun together in a van, on reflection at least. Here's one that still brings a smile Once ended up in Woburn Safari park in a pea souper of a Fog on the way back from St Neots to Oxford probably 1978. Just heard what sounded like a cattle grid then another then a sign at a gate saying beware wild animals. And no bugger would get out see were we were in fear of being eaten. How many of you have travelled in the back of Luton bodied vans with no sense of where you are, with just the constant flash of yellow street lamps going passed through the translucent fibre glass roof.

I admire your dedication. Bad memories over Band Wagons. I Was in a nine piece Band in Oxford years ago and the Band leader said one night I want to pool some money and get a Van so we can all go to Gigs together. We went over to look at the Van owned by the 'Education' A respected local Band. It was a converted Ambulance with Aircraft seats already done out, so we were won over. Then his next project was a new PA, A huge stack plus stage risers for the Horns. We never did get in the van.

Sorted for £500 34" 45mm nut 18.5mm string space at Bridge and 18mm depth front back at first fret 22mm at 12th mucho fast

I think Dlloyd, covered it quite well. Having come from Trombone and played in Brass Bands and Orchestras for the first 10 years of my musical life. I got used to living in a Mono world. Just playing notes and not having to understand why this or that note, I have played for years without any need to understand Chords and where I fitted into the whole picture. When I took up the bass my musical world suddenly became three dimensional, Music changed from Black and white to colour. There are of course exceptions to this rule, but even now blowers i.e. Trumpet and trombone players are less likely to improvise as Sax players who are naturally drawn to Jazz in the first place. And yes they are usually lazy in that they turn up just in time for them; helping set up n pack away etc. is not on their radar. They will be first in line for food n drink and seem to have a very narrow view on the subtleties of dealing with the clients. So I would add selfish in as well as lazy

Thought I should post a more recent shot, Wife still singing and I'm asleep at the Back.

Talking of 30 year old gear, here is a 30 year old line up. I'm Far left, My the Wife centre, and thought you may like to see John East Bottom left, When he used to spank the plank on a regular basis, and got me hooked on this Bass madness. We did use a full HH PA with Column speakers in 77 this was taken in 81.

Hampsters bassist got me into thinking about it, ref tension and ease of tuning-its easier to adjust below than above, sting length allows use of long scale strings etc. I would go for this reverse set up if i get a bass made. would love a sklar double reverse P like this